This expressive force is related to the cooperation between Furukawa's producer and Kunihiko Ikuhara, the famous producer in Lily Xionglan. Furukawa Chihiro learned the most important part from the "Kunihiko Ikuhara Style"-maximizing the stage performance, expressing a certain degree of stream of consciousness, quickly switching clips containing a lot of information, saving money by reusing pictures (laughs), and deriving his own style. The most obvious thing is his gorgeous split-lens performance, which makes a few songs visually look and feel.
For some opera fans, the opera in this film is somewhat different from the opera in a broad sense. The so-called "opera" in girls' opera is actually the kind of opera of Baozuka revue Company. I tried to distinguish between aria and recitation in the Revue in the animation, but I found that there was no obvious difference, only the recitation of characters could be distinguished from songs. But at the opera level, it pays great attention to the action of the role, the design of the scene and the lyrics, which will never disappoint people.
The last key word is moving. Moving is not only in the plot, but also in the whole movie. If you say "I!" To a chef named Xiao Song (giraffe)! Reproduction! ","Barneys! " Or "わかります", I don't believe that TA won't talk to you all day. This obsession with the work is hard to see.
If nothing else, I think Brother Shao's last sentence was really a tearful one, witnessing a touching story and ending with a happy ending, which is the wish of every audience.
Although I am a crazy girl who has no brains to play traditional Chinese opera, I have to admit that it is really difficult for Meng Xin, who has just been in into the pit for a long time and usually doesn't read much, to watch this movie, but there is still a feeling of watching it. The above is just my personal opinion.