《铃芽之旅》：无愧于新海诚的“集大成之作”，却总让人感觉少了点什么

《玲芽之旅》作为新海诚的升华之作，展现了多方面的主题。

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岩户玲芽--自愈与成长：作为地震的受害者，幼小的玲芽失去了与她相依为命的母亲，在寻找母亲的时候误入常世，迷失了自我。在寻找的路上玲芽逢人便问母亲的踪迹，并无它语，直到被大臣引导来到常世的长大后的自己的出现才得以拯救。从影片开始，电影就以女主的视角展开故事。从玲芽拔出要石大臣，帮助变成椅子的草太关闭往门，玲芽与环姨妈的芥蒂得到解开，去常世拯救草太和自我，女主作为主要线索贯穿每一个主题，最终归于自我的成长与救赎。

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宗像草太--梦想与使命：作为一名男大学生，草太一心想成为教师并报考了教资考试，可谓前途一片光明。但因为自己独特的命运，草太不得已成为一位闭门师，独自承担起关闭往门的使命。在奉行使命中，他依旧将成为老师的梦想怀揣在心，可惜在关闭往门的道路上，他一次次地与梦想擦肩而过，将自己的生命奉献给了使命。人生在世往往身不由己，有时候看似有多个选项，而现实的真相往往只有一个。

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大臣--孤独与责任：大臣在故事的前部分的形象特点还是比较不清楚的，很多观众看了后都认为它是反派，也不清楚它是不是有自己的特殊目的，感觉让人有点琢磨不透。可看到最后，它或许只是一个单纯的，孤独的孩子。作为神明，它不应该过多的有人类的感情，因为他与生俱来就有镇压蚓厄的能力与责任。在镇压蚓厄的千百年中，它感到孤独，冥冥之中，玲芽来到了它身边，它开始有了渴望，而这种渴望对于它的责任来说是矛盾的，必然注定了它悲惨的结局。

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环姨妈--亲情的羁绊：在抚养玲芽的过程中，环姨妈付出了自己的清纯年华，时间精力，对于于玲芽的争吵，即便是受到左大臣的影响，也至少有7分真心的。没有一个人生来就应该为谁付出，而环姨妈受到亲情的羁绊，给了玲芽承诺，良心也使她在自我奉献的路上无法回头。

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除了人物关系之间突现的人性主题外，灾难主题一直是新海诚要强调的。通过日本最突现的天灾--地震，新海诚展现了人间冷暖的流失和再现，结合日本的传统知识，元素与精湛的画面制作和音乐，色彩渲染，给人一种在天灾前不寒而栗的感觉，在蚓厄出现时观众总会忘记呼吸。天灾无情，所以玲芽经历生离死别和自我迷失，而人间有情，玲芽在对战蚓厄的路上收获了爱情和亲情。多主题多层次可谓新海诚导演的集大成之作，在自我风格的延续上展现多方面的主题加深人的思考能力，升华电影的内涵，由此可见导演的良苦用心和社会责任感。

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但在展现多方面主题的同时，人物的刻画显得却有些单薄。比如玲芽与大臣之间的关系，最后玲芽真的明白大臣是因何而来了吗，人猫之间的误会澄清了吗。除此之外，男主的戏份可能因为剧情需要而减少，而在电影的后部分两人的感情却升华到了极致，这似乎有点太突兀了，尤其是女主的形象从一开始的离家出走到与亲人的争吵，再到后部分与大臣的相处过程中，总让人感觉少了点什么，仔细一想，应该就是女主的正面形象吧。就比如有人帮了你一次你会道个谢，但后面大臣再次化为要石后的情节，女主的“谢谢”的情节没有体现出来，大臣很突兀地离开，后面不再刻画，总体就让女主的正面形象暗淡了不少不是吗？

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Forced hang-up bloggers.

Extended reading.

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