Based on the novel from 1878 Hector Malot,,,,, Remi, nobody’s boy (Fromally called No familymeaning “no family) is part of what seems to be Animation“Childhood Destruction” collection. The label on that tongue (the series is famous in some places), although the meaning is arguably dual. Yes, Young Rémi’s life is horrible in some places, but if you’ve read Malot’s original work, it’s also a bit like the childhood destroyer Mainland cuisineThis version of the story has made some major changes, not all of which have been worthwhile.
This story takes place in France and England in the late 19th century. Rémi was eight years old when he opened, and in a small French agricultural community he lived happily in poverty with his mother, Mrs. Barbarin. Things weren’t good – the family had to sell their beloved cattle rousette – but it was usually not bad until his father returned home from Paris after an industrial injury. Mr. Babalin may have been a kind person, but his injury and the harm with alcohol changed him, the first thing he did was to ask why Rémi still exists… because he was in no The child of the barbarian, but a cast. Without more income, he was determined to get rid of the boy, at which point a travel performer named Vitalis appears and offers to buy him. Rémi stands out with the elderly and makes the plot sporty.
If you are familiar Charles Dickensit is very likely that many elements of this story will be recognized. If anything, Dezaki plays Oliver Twisted Compare the middle and endings of the series. One of the main changes to the original material was Mattia’s character, which he referenced very cleverly in Dezaki’s version. In Malot’s novel, Mattia is a dynamic character, a weak Italian child who loses his mother and is punished for the Fagin-type boss in the slums who do not bring enough money. exist Remi, nobody’s boyhe bravely, intelligently and messily takes his future in his own hands and helps Rémi become an equal companion. These changes do improve the already clear Dickens notes (Oliver Twisted It was written between 1838 and 1839), making the story more attractive to modern audiences.
This series is still attractive. In episode 51, Remi, nobody’s boy Follow the climax and low points of the lives of 19th century travel artists. While this is a very typical Victorian dramatic narrative in many ways, especially as an orphan story, it also hits some notes that will be spoken to the original audience in 1978 and today. Episode 8 deals with pollution and horrible air quality, while Episode 10 specializes in police abuse of power, a policeman sentenced Vitalis to a very small violation with his power. Later, another official accused Rémi and Mattia of theft simply because they “looked not like” and they should have a fairly earning money. The series is also doing a great job of showing how the world sees it as a world that “outsiders” or someone else treats. Both the thief and the performer are repeatedly placed on the same level, and Rémi is blamed for his casting state as if it was his fault for his own parents. People’s bias is always fully displayed, but it is still done in a relatively subtle way, never feeling its social message gets you in trouble. All of this also makes it very noteworthy toward the last two black characters (especially Bob). He didn’t attract him in any openly racist ways, nor was he considered a submission to a white character.
The series also retains the heart stalking of the original novel. Most of the tragic elements are limited to the first half of the series, when a series of misfortunes were activated by that overbearing police in episode 10, leading to the demise of most Vitalis troupes. If you are plagued by animal death in the media, warn here are a few, and two major human deaths throughout the series. Ironically, Vitalis’s death improved Rémi’s life. Vitalis is not a bad guy despite buying Rémi. There is an argument that he bought the boy to prevent anything from getting worse, and he taught him several valuable skills, the most important of which was playing multiple instruments. But Vitalis is also why Rémi reunited with his biological mother for longer than he could have been, which would have been seen as a bad thing in Victorian literature. Even in the modern way of thinking, it is not difficult to see Vitalis’ refusal to let Rémi be with the wealthy British family he encountered during his imprisonment in Vitalis is not a good plan. Rémi is stripped of a comfortable childhood, not only at this point, but as the story continues, plus two more points. In the novel, it is easy to see Malot intends to make short-sighted moves on Vitalis’ character and has a terrible impact on Rémi. In the series, it feels like Dezaki doesn’t understand Malot’s point of view that Rémi deserves a safe, comfortable life, and the last-minute plot change reunited Rémi with his two mothers again after reuniting with him.
This is the main problem with this series, although it may not bother those who are unfamiliar Raw materials. In this book, Mrs. Milligan not only takes Rémi home, but also adopts Mattia and Lise, a silent girl, Rémi, who meets after Vitalis’s death. It would have been a victory, happy ending, where Rémi and Mattia, who survived their trial, were rewarded for everything they should have. By changing this, the series fundamentally misunderstood Malot’s desire for a safe return, thus undermining the book’s entire point of view. Perhaps worse, it feels very awkward since the de facto conclusion returned to the text.
still, Remi, nobody’s boy It is a great example of the appeal of classic anime. The story is smooth and full of emotional pain. It still looks good if it doesn’t meet modern art standards. AnimationSince some parts of the series are designed to be viewed this way (but without glasses, some parts of the series can be used), old-fashioned 3D glasses were released. This might be a quirk of my specific visual problem, but I can’t make 3D work completely. However, it’s still an interesting inclusion. The quality of the pictures is mostly clear and soft and speaks to the older technology used, and the final ending theme is the only part of the series with lower picture quality. This version includes Japanese and French dubbing with English subtitles; however, the subtitle tracks for both are the same. This is a problem because the Frenchman Dubbing Both are more faithful to the book and add lines in some scenes and delete them in others. (It should be noted that in both cases they are moments when open mouth synchronization is not a problem.) This makes the French Dubbing If you need an English submarine, it’s harder to follow, but I still recommend the Japanese version. Its nuances are richer, and Martine MessengerMrs. Milligan was incredible – she really sounded like a French-speaking English. (Messager is actually French.) I also really like the voice of the typical French narrator, Jean Topart great.
although Remi, nobody’s boy No other people’s fidelity World Masterpiece Theater Adaptation (e.g. Green Gable Annie), it is still important in history and is a solid work in itself. I may not agree with the adaptive choices made, but I cannot blame most of the execution or dramatic beats. Strangely, a clear 1976 French road map was used? Yes. But even these little tobacco or details make the series a part of the anime history, which is probably the biggest advantage of this release.
