Author: Adi/Anitama Cover Source: Lupin III
Last time we said that the second phase of Lupin III was on fire, so we tried to enter the film market again. The second installment was released in the third three years, and the second and third years were released in late 1978 and late 1979, respectively. Year-end release means that the eye is on the new month slot, although it is called the new month slot, but the eyes on this period are released at the end of the year, which is the second largest peak season of the Japanese film industry throughout the year. However, Lupin does not belong to the type that is suitable for the whole family to see together, so even if it is placed in the first peak season, the benefits cannot be seen, and it can be said that the actual effect at the end of the year is similar to that of the first peak season. The rules of the Japanese film industry, we will talk about these things later in the business column of Toei Mizoya.
A long time ago, we made it clear that two things, one is that the contradiction between the production front line and the management level cannot disappear, and the other is the second turning point in the main market model of the entire Japanese animation industry in the late 1970s.
When the contradiction between the production site and the management level is most alleviated, it is the commercial materials that are at their peak, and anyway, the money will come in a hurry, so there will be no tight restrictions on the front line. In this specific case, Lupin is during the second episode of the TV animation, so now the atmosphere is completely different from the first episode. The supervision of the two films is also relatively strong, and the supervision even writes the script himself in addition to the performance work, and the people at the top do not care much. In addition, the times have changed after this transition period, and the production site and the management layer have gone to two extremes in the first phase, and now both ends are no longer feasible anyway, and it is still an era where the center is just right.
The general impression that the two films now leave behind is that the first work is good and the second game has a good reputation. It is not that the reputation of the first work is not good, but the reputation of the second work is too loud later.
The commercial results of the first game are all very good and everyone is satisfied, and the box office revenue conversion valuation can be equivalent to about 5 billion to 5.5 billion yen if it is released now. How to estimate that is still a bit complicated, the first time the measurement method is not the same, the second time the ticket price is not the same, the third time the release conditions are not the same, or throw the next door to talk about the film industry system when talking about this topic.
The second game's money-lapping results are much inferior, falling to one-third of the previous work. After all, the second work is the second work, there is no freshness of the first work, the collection of guests is weak, and it is already the last year of the three-year broadcast period, so Lupin the whole of the business material itself has also entered the decline period. Ratings also began to decline, with the highest nearly 30% occurring in early 1979, and usually more than 20% each time. From June 1979 20% was no longer a matter of course, and from March 1980 15% was no longer the norm. Lupin also well adheres to the three-year-end rule common to film and television intellectual property brands, which is particularly common in the animation industry between the second and third transition periods of the main market model.
The main point of the second film deviating from the conventional historical trajectory is that the praise of the content has led to the increasing reputation after word of mouth, and after the TV version is over, the popularity continues to expand. The filmmaker of this film is Hayao Miyazaki, and it has been said before that Hayao Miyazaki's becoming a national figure in Japan is complementary to the longevity of the Lupin III series.
One of the important factors that helped Miyazaki climb up in the early days was the brand power of the Lupin series, and ten years later Miyazaki became completely famous, and twenty years later Miyazaki became a national. In these processes, when the media digs up celebrity history again, dig out the original Lao Gong this guy has done Lupin before, which in turn strengthens the popularity of Lupin. So this film has been replayed on TV since the year after its release, always replayed every few years, and just replayed last month, a total of fifteen times.
The first two theatrical versions of Lupin III. Left: The first theatrical version of Lupin vs. replicants (supervision: Yoshikawa Koji); the second game "Castle of Kalio Stros" (supervision: Miyazaki Hayao)
After the end of the second period, since the popularity of Lupin was not completely exhausted, it was targeted by Yomiuri TV again in a few years. This Yomiuri TV station you can not count as sad, when the time was not yet there, he came to fry Lupin, did not fry up had to ship his own. The aftermath of this action pushed up the big market, but he did not fish well, and was caught by the big brother Japanese TELEVISION. Now that a big wave of markets has come to an end, he is back in the YOku.
In 1984, Yomiuri decided to re-animate Lupin III. We said that when Japanese television was engaged in the second issue, in order to distinguish it from the first issue of Yomiuri, it consciously made various changes to realize its own characteristics. This time, when the Yomiuri is about to produce the third issue, it will continue to fight and consciously express its own characteristics. Therefore, Lupin's three-phase TV animation in the Showa period is said to be a series of one phase two phases and three episodes, but in fact, the film is very independent, and the main reason is this.
Still take the most obvious protagonist image as an example, Japanese television did not change Lupin's coat to red that year, this time Yomiuri specially instructed Tokyo Film News Agency, no matter what color you use anyway, don't give me red! But the place where the compromise should be compromised is still compromised, the first issue of that year is not too hot, the Japanese television station in the second phase of the voice actor resistance is not much, but the second phase of the fire to the peak of the role impression has been fixed, and now the third phase of the Yomiuri has no confidence to change the voice actor.
As in the second period, Yomiuri will also launch the movie version at the same time, so he went to the supervisor of the previous game, Hayao Miyazaki, who said that he was busy and kicked the ball to Oshii Mori. Oshii and Miyazaki have at least one thing in common, there is a personality, I just don't play cards according to the routine. Well, you engage in your own routine is your freedom, and whether you accept it or not is also the freedom of the top, and the freedom of the audience, and finally Oshii's plan blows the substitution and then goes up.
The so-called "four elements of life" that stand out from the crowd, the first three lines can also be established when placed on the work. First, you have to do it yourself, second, someone says you can do it, and third, someone who says you do it has to do it. These three lines are translated in the language that is easier to understand by your mother's main audience group, that is, first, you must be able to sing and dance plus have a good face, second, you must have a planner to look at you, and third, the planner must have his own ability, and then you can become a popular love multi-way. Miyazaki and Oshii, or their works, Yuki has another way of meeting the first line, the second line is in line, and it is the third line that determines the difference. Miyazaki had it, Oshii didn't, so the situation between Miyazaki and Oshii was so different later. I have always believed that although it is not simple for people to have the first line, it is not difficult, compared to the real difficulty of life, the extremely difficult point, is really the third line.
The fatal point of Oshii's Lupin film, which is precisely the middle stage of the film's planning book to the script, is that it proposes a gist: Lupin does not exist. Honestly, this is in line with the original work, and the Lupin of the original work is indeed this concept, which we mentioned last time. Lupin was originally a cross-dresser, no one knows that no one has seen what Lupin looks like, what nationality and what gender is completely unclear, in fact, it does not exist at all, every time Lupin appears is not necessarily the same person, this time it is actually the cross-dress of Daisuke of the dimension, that is actually a variation of Feng Fujiko and so on.
Such a restoration of the original work is a ruin for the audience, and it is absolutely impossible to accept it, so from the standpoint of the management level, Oshii's planning is inevitable. This is also the character image that we have pointed out, the most deeply rooted Lupin III and his group of friends, which is shaped by the second phase of the TV animation, and it is also the most deviated from the image that monkey fist wants to shape.
Mamoru Oshii's Version, "The Third Generation of The World" Concept, Paintings: Yoshitaka Amano
The year after the third episode was completed, Tokyo Film News Agency made a big death.
Lupin has a new work, this time without TV, no Yomiuri or Japan, because the production is an original video animation. But Tokyo Film News Agency itself is not enough money and went to ask for help from Toho, so Toho said to help you, but you see I am a film company, just selling video tapes is not enough for me to earn, before selling first put in the cinema to release it, the distribution rights of course give me, so this film first became a movie released. The biggest dead point is that the voice actor lineup has been changed as a whole, the reason is simple and rude, Tokyo Film News Agency crying poor can save a little is a little, the original voice actor lineup their office is not kind, so replaced by a relatively low cost of voice actors, music has also changed.
This is the end, originally the animation thing is indeed no one cares about voice actors, anyway, can not see the face, until the seventies this is common sense. But it is after the second turning point of the entire Japanese animation industry mentioned above, this point has changed, and it is better understood today, dare to do this thing that a large wave of voice actors and chefs do not squeeze the door, cut you can not die you will spit and drown you. At that time, the Tokyo Film News Agency obviously did not have a deep understanding of this change, not to mention that this film was also a film of the 1970s, and unconsciously maintained the thinking of the 1970s. Coupled with the fact that Toho inserted such a foot into the form of a movie, the popularity of this film was instantly high, and the consequences were even more serious.
Tokyo Film News Agency did this, the original author Monkey fist back the pot, was the original Lupin voice actor Yamada Yasuozo in the middle of the night a phone call to spray, sprayed for half an hour was scolded a dog bloody head. Monkey fist this original author is really miserable, others on the set of the voice actor to the original author a teacher shouted, this side is the original author in front of the voice actor can not lift his head, not to mention or back the pot, plus the content of the animation is not the look of their own original work.
The first original video animation of Lupin III, The Conspiracy of the Wind Demon Clan, the voice actor of Lupin III was also changed from Yasuo Yamada to Noboru Furukawa
Tokyo Film New Company came out of this film, originally because he was unwell and expected the famous lupin to be a rescuer to return some blood, and as a result, he wanted to play himself to death. In the end, It was the Japanese television station that came out to save the scene, but it was unrealistic to come up directly and produce another TV animation, and it was okay to kill and die out of a special program. By 1989, it had been 20 years since the first animation, and it was an old film, and it was not always played continuously, and according to the common sense at that time, the fourth issue was not enough. The threshold for new animation to be produced on schedule will be lowered again until after the third turning point in the animation industry in the mid-1990s.
But this special show became addictive, and became stable every year, and the voice actors and music were of course changed back, especially the whole atmosphere was like the second episode of the Japanese tv station's own version. Japanese television has a program for replaying old movies that have been shown in theaters, and at nine o'clock on Friday night, according to the specific film, the length of time including advertising is at least two hours, and the replay of Lupin movies like the aforementioned replay is here by default. Fuji TV and TV Asahi tv also have similar programs, and in addition to broadcasting movies, they can also be used to produce new works, single-shot TV series or special episodes of animation, and the length is similar to that of movies.
Lupin's special program is also here, from 1989 to 2013 25 consecutive works, every year there must be a completely new Lupin, film length special program. Among them was the first "Lupin III vs. Detective Conan", which was a special program on television, which was well received and later had a second film and turned into a movie. By 2014, this normalcy was broken, because it was replaced by a Special Program for Conan's 20th Anniversary, and the previous Lupin vs. Conan film version at the end of 2013, which can actually be regarded as two Lupin specials in 2013.
"Lupin III vs. Detective Conan Special"
Then in 2015, the fourth issue of TV animation was finally born, spanning half a year, last year and one quarter each this year, and a two-hour special chapter seems less important. The fourth period was broadcast at the same time, and at the beginning of this year, there was also a special chapter, although it was more bad.
During the 25-year period of the annual special chapter, the 1995 film version was also reopened and premiered in mid-to-late April, which means that it corresponds to the Golden Week slot. The 1996 film even had Monkey Fist himself as a supervisor, but the audience response was not good. It is still an old problem, the closer it is to the original idea of the original work, the less it is the way the audience thinks, which is the sadness that Lupin's work can no longer get rid of although it has a long life. For people, no one knows that you are probably a kind of sadness, and what is more sad is that people have always thought that knowing you is not actually knowing you, it is better not to know. This is one of the words I originally intended to use to summarize to Eiji Marutani, and I used it here first, but this is the reality that the business material is not a person, and rationally speaking, how to make money is not right and wrong, and the original reality of lukewarmness.
After this poor response, the 1997 Golden Week animated film of Toho was replaced by Conan, also produced by Tokyo Film Shinsha and also broadcast on the Japan Television Series Broadcasting Network, which naturally took over. This is the birth of the Conan theatrical version, inheriting the schedule left by Lupin until now.
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