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novelmonger · 2 years

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I watched FMA: The Revenge of Scar on FMA Day and am only now talking about it shush leave me alone I was busy okay.

Both before and after watching it, I've come across a fair share of posts sharing their excitement about it, talking about it as something they enjoyed. And there's only one thought that comes to mind when I see them:

....Why?

I'm not trying to rain on anybody's parade or anything; I'm just genuinely confused. If you like these movies, what do you like about them? If you watched the first one and were excited when the sequel was announced, why? I'm just really confused, because I've watched two of these movies now, and...sorry to be blunt, but I thought both were a pile of crap ^^'

Am I just somehow missing everyone who's complaining about the movies? Or am I completely misunderstanding people who are trying to make the best of things? Because right now, I feel like I'm either left out of a huge, fandom-wide joke, or I've gone utterly insane.

I mean, I have sooooo many complaints against these movies, such as:

very fake-looking wigs and costumes (admittedly, they were a bit better in the second one)

Ed and Al were the only ones who could act their way out of a paper bag (I've only seen the sub, so can't speak to dub performances)

the CG looked so fake and ugly

even I noticed the awful greenscreen and masking lines

the transmutations were way too slow; I had horrible flashbacks to The Last Airbender x.x

terrible pacing, so both dramatic and comedic moments fall flat (which makes me want to cry, because Arakawa-san has such impeccable timing for both T^T)

nonsensical switching around of the timeline, creating problems for themselves they then have to scramble to solve in the most haphazard ways (like Ed's motivation to go to the ruins of Xerxes, which makes no sense now because they didn't have Ross go into hiding, so he had no reason to go into the desert; he just kind of...heard the word "ruins" and teleported to the desert)

WHAT ON EARTH WENT WRONG WITH ARMSTRONG WHY DID THEY GIVE HIM A PROSTHETIC SCALP JUST FIND AN ACTOR WHO LOOKS GOOD WITH A SHAVED HEAD GOODNESS GRACIOUS D:

Mei is waaaaaaaaaaaaay too old

the soundtrack is utterly forgettable, which is a huge shame when you compare it to the masterpieces of Michiru Oshima and Akira Senju that came before it

Envy's true form is nowhere near big enough

maybe a minor gripe, but the clapping and snapping for alchemy just...doesn't sound cool like it does in both animes :/ More realistic, I guess, but um...this is fantasy, you can let such things have big dramatic sound effects just because they sound cool....

why on earth does Winry have dark hair????? Why does everybody else have to wear awful wigs but she keeps her natural hair color???? aldkfjsa;kfljsdlfkjslkj;lkjsf

I was bored all the way through both movies and kept checking the time to see how much was left. Let me repeat that: I was BORED. In Full Metal Alchemist!

On the positive side, um.....

Ryosuke Yamada was basically the perfect choice to play Ed. He really nailed the character, and had some great expressions and deliveries that brought out Ed's personality without making it too cartoony and over-the-top (and I'm pretty sure that the problems I have with timing are more a fault of the director, rather than the actor)

I actually really enjoyed the scene where Ed and Al have their little confrontation about Al's soul being fake; it was new material, but 100% in-character, and full of the brotherly love that is at the heart of FMA

Nina is adooooorable :'3

Selim is also possibly the cutest little boy I've ever seen in my life; super hard to imagine him as a Homunculus, but that's kind of the point

props to them for the attention to detail required to recreate some scenes with even the same framing and angles as the manga now if only they'd also managed to recreate the pacing and emotional depth

Uh...yeah, that's all I've got. It really doesn't weigh out the negative side.

Again, if you liked the movies...please, I'm begging you, tell me why! I really want to understand ;_;

#fma #full metal alchemist #fullmetal alchemist #fma live action #you have no idea how much i wanted to love these movies #and i just...can't #they weren't even so-bad-they're-good #i was just disappointed and bored and annoyed #but i honestly want to understand what people see in them!#please share your thoughts!

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chibimyumi · 5 years

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Art Report - ‘Elisabeth 2019′ TOHO ACT 1

【Click here for Act 2 】

Dear everyone!~~!

Now 3 months late since I promised, I finally bring you a VERY detailed photo report on ‘Elisabeth’ 2019!

DISCLAIMER:

I am not going to retell the story of ‘Elisabeth’; I will skip quite many scenes. For the full story, please look up a synopsis or something alike.

There is actually quite a lot I am not sure whether I remembered right. And Furukawa always changes his performance every few days, so my report does not cover all of Furutod.

Some of these drawings were made in a rush, while for others I had more time.

Cast - Matinée July 19th, 2019

Elisabeth - Manaki Reika

Der Tod - Furukawa Yuta

Lucheni - Yamazaki Ikusaburo

Franz I - Hirakata Genki

Sophie - Koujun Tatsuki

Rudolf - Miura Ryosuke

Child Rudolf - Jin Yoshiharu

The Descent

The descent has always been one of my favourite scenes. This number is just so great, a mere memory of it is enough to turn me into one giant goosebump. I was especially looking forward to this, because this would be the first time we see Furukawa Yuta as the role of his dreams; Der Tod.

Though I am no fan of the metallic wings, Furutod’s descent was SO MAJESTIC. The theme of Der Tod started, and from the ceiling a pair of boots descended.

Some ankles revealed itself, the calf... more of the calf... and there was more calf... AH finally some knees. Uw, more legs...leeegs...leeeegs... “WHERE DO HIS LEGS STOP!? Oh, there! No wait, those are his upper thighs. Ah, finally, his waist.”

I heard from someone who counted, Furukawa descends one beat earlier than Inoue Yoshio’s Der Tod does, because otherwise by the time Der Tod needs to sing, Furukawa’s face has not shown yet ( ´艸｀)

When Furutod touched ground, his Death Angels undid his wings, and he stepped onto the stage for the first time.

The way Furukawa carries himself as Der Tod is very two-dimensional, in a good way! When he descended he was like a Greek statue, but when he stepped forward, he gradually came to life. In this photo ⇊ we catch a small glimpse of Furutod’s statue-like face.

Sissi’s Entrance

Manaki’s Sissi was the cutest and most majestic thing I have seen. When she made her appearance as child Sissi, it was very believable that it really was a child standing before me. She was beaming and her eyes were full of dreams. And yet there was this edge in her. It was easy to see how this young girl would grow into a woman who would survive ordeal after ordeal.

Enter the Underworld

During a family meeting, Sissi fell from the tree which wounded her so bad she enters the Underworld. She was escorted by the Death Angels, and at first Furutod did not seem interested at all. “Another mortal who died, nothing new.” When he approached her to take her life, Sissi sought eye-contact with Der Tod, and her eyes were so full of power and life, it was like she - though confused - was daring the lord of the Underworld to end her.

“The Rondo of Love and Death”

The song ‘the Rondo of Love and Death’ began, and I was stunned by how much Furukawa managed to improve his already good singing. He always had trouble with the high notes, and sometimes he would be a bit short of breath. But by ‘Elisabeth’, Furukawa has improved his vocals so much that even the highest notes went as smooth as silk.

♪♬ “The wounds from which my pale blood flows Only you are capable of easing my pain I shall return you your life” ♪♬ - Der Tod

This is the first time when Furutod comes fully to life, and for the first time his eyes showed an emotion that was not utttttter boredom. We learn that Furutod is like a spoiled child who would take any opportunity to play. Despite literally being the personification of Death, the only thing Der Tod seems to want to kill is not the lives of others, but his own boredom. To me, Furutod is the first Der Tod that made me realise what this ‘pain’ in the script really meant to him; a lethal apathy paired with the suffering of not being able to end it.

The other Der Tods I have seen are also good; but especially in the Takarazuka version, this ‘pain’ is strongly hinted to be ‘a loveless existence’. A lethal apathy was a very refreshing take for me to see.

♪♬ “Until the day I win your love I will continue my pursuit... I will pursue your love no matter where you go”　♪♬

The song was meant to be a very romantic one, but once sung by Furutod, this pining lover’s song became that of an entitled stalker’s threat song. In the other versions of ‘Elisabeth’, Der Tod is also a stalker, of course. But the emphasis on the romance is usually laid on so thick, one would have to give the situation some extra thought before acknowledging how creepy it truly is.

Furutod however, only allows you room to either interpret it as a problematic kinky-romance, or sheer threat.

The Imperial Wedding

Franz I and Sissi get married, and Der Tod attends the Imperial wedding as well. I was a very lucky b*tch, I sat only 2 seats away from where Furutod passed us in the aisle.

... he was literally only a meter away from us, and my little dork sister Ò^Ó didn’t see him. Sigh. She was too busy looking at the stage. Which - not gonna lie - was glorious too. But Furutod thoughhhhhhh.

His long cape trailed behind him, the way he walked was so smooth it was like he was floating. We have seen a preview of Furukawa’s float-walk in Kuromyu, where he applied ballet even to walking. I thought that was already the height of Furukawa’s ballet skills; BUT I WAS WRONG! When I saw Furutod’s float-walk from up close, I realised that as Sebas, Furukawa was at least ‘TRYING’ to look human. With Furutod he did not bother.

Speaking of my sister @cutiepeimei , she also sketched the image of Floating!Furutod. He ghost.

The Game is On

After Furutod saw his ‘toy’ become someone else’s, it was like something snapped in his mind. He was very calm at first, solemnly warning Elisabeth that she will be the end of the Habsburg glory.

♪♬ “All misfortune starts here, as of today The demise of the Habsburg glory The downfall of an empire of which no one knows Let me tell you bit by bit, the source of all disaster People are blissfully oblivious of the scent of misfortune The die is cast by your grave mistake Elisabeth!” ♪♬ - Der Tod and Choir

But then after Elisabeth spoke her wedding vow, tears started streaming down Furutod’s cheeks, and suddenly, he broke into hysterical laughter.

He started with a few chuckles under his breath which bled into an uncontrolled laughter. Before we knew, this ominous laughter became a full-out hyena screech, going “iiiiyaaahahahaahahaha!”

The Japanese fandom is rather divided on their opinions on this hyena laughter. I at first didn’t like it either; I found myself pinching my nose willing myself not to laugh in the theatre. Despite it being funny at the time, it was indeed very very chilling. It wasn’t until after I watched other versions of ‘Elisabeth’ (because I just missed Furutod SO MUCH) that I realised I was REALLY missing Hyena!Tod. So I have settled with the opinion of “Hyena!Tod Hell YES!”.

“The Last Dance“

In the interview published in ‘Soen September 2019 Issue’, Furukawa shared with us that he asked costume designer Ikezawa to make this costume military based.

Though all guests attended the Imperial wedding in formal wear, Furutod chose to appear in military uniform because that was the moment he decided to declare war to Elisabeth. Quite a few years had passed between their first encounter and the wedding, and Furutod was done waiting; he was going to conquer his toy actively now.

In the song ‘the Last Dance’, Furutod made his appearance in a cool-headed manner, and he stayed so for... a few seconds. It was like he was trying very hard to remain calm, but his bottled-up impatience just could no longer be suppressed.

As Furukawa said himself before in this interview, “‘the Last Dance’, starts in gentle melody and sets the mood. But then suddenly the rock starts, and both Der Tod and the musical itself transform themselves.”

Sissi was trying to escape the room, but the Death Angels had already guarded every corner of the room. Whenever Sissi seemed to finally have found a window to escape, a minion would just spin her on her heels and push her back to the boss.

Usually, this scene is one of my least favourites in non-Takarazuka versions, because it is usually performed with too much rape-vibes. Furutod however, was not rape-y at all. In fact, he hardly ever touched more than Sissi’s hands. The scene was devoid of sexual energy - it was just war.

By the end of the song, Furutod saw how Sissi was devastated by him, and seemed to regret for a second that he used the wrong strategy. Had he not scared her, then Sissi might have been less quick to run away from him. It was very refreshing to see a version of this scene wherein Der Tod reflects on how he scared somebody unduly.

Alas, no use crying over spilt milk, Furutod shrugged it off. Before he left Sissi he bowed to her, and with a gentle smile he gestured at the pathway that the Death Angels cleared for her. Furutod reminded Sissi that whether she escapes him or not would be entirely at his mercy, just like now. “Your last dance will belong to me.” ♪♬

“I Belong to Myself”

At the crack of dawn after Sissi’s wedding night, her mother in law Sophie inspects every inch of her, and even blamed her for not having consummated the wedding with her son. Sophie dictates the rules at the Imperial court and strips Sissi of every last bit of her autonomy.

Look, ⇊ it’s Akisono Mio (Frances) on the left!

Franz hears the noise from his bride’s chamber and comes to check on her. Sissi cries out to Franz, begging him to save her from Sophiezilla. Franz - the spineless mama-boy that he is - smiles at Sissi, and has the guts to sing the following:

♪♬ “ You have to learn the duties of being Empress You need to repress yourself, that is your life from now on I am your ally, but all of Mother’s advice is for your sake” ♪♬ - Franz

Sissi will swallow none of this bs, and declares that even though her body might now be the Imperial family’s property, her soul belongs to herself alone.

I have seen a lot of whimpering Sissis who turned this power song into a damsel-in-distress-song. But Manaki Reika was full of determination and spite. It was very empowering to see. She was looking up, of course, and it makes sense because the Imperial Theatre has multiple stories of seats. But because of Manaki’s immense presence, it felt like she was declaring her autonomy to a greater existence.

Hungarian Independence

Sissi’s life was getting harder and harder. First, her husband was very busy, so the couple did not have any time to produce any children. By the second year, Sissi finally gave birth to a baby girl, but the baby was immediately taken away by Sophie. Not only did Sophie go full Disney Villain by stealing a baby, she also took the liberty of naming the child after herself.

The state was in turmoil, and Franz had trouble keeping everything together. He was willing to make a last bet on his wife’s charms, and asked Elisabeth to come with him to Hungary.

Here, Sissi saw her chance to make a move, and demanded that she would only come if Franz made his mother return baby Sophie to her. Defeated, Franz finally made his first move.

Franz was supposed to show himself in a speech wherein he declares Austrian authority over Hungary. Sissi however, showed herself in a dress in the colours of the Hungarian flag, and greeted the Hungarian people in Hungarian language and acknowledges Hungary as an independent nation. Using this political move, she managed to single-handedly win the favours of the Hungarian people who were fighting for self governance.

The Hungarian revolutionaries however, were VERY unhappy with this development. While they would have been seen as ‘heroes who fought for independence’, they would now be reduced to ‘ungrateful rebellions’.

Elemer, played by Uehara Takuya (Grell) made his move to assasinate Sissi, but was stopped by Furutod. Furutod hid Elemer’s hand that was holding a gun with his cape, and showed the revolutionaries that the Imperial guards were very close by.

Furutod gave the revolutionaries an assuring pat on the shoulders and created an opening for them to escape the guards. The revolutionaries thanked him heartily. Furutod scoffed, reminding the audience once more that Sissi’s life and death was entirely in his hands.

Just like Furukawa explained marvelously before in this interview, Furutod is “an entity that represents both life force and death; death has no meaning to human beings if there is no life, after all. Death’s power ultimately, comes from his authority over the termination of someone’s life.”

Sissi seemed to be very full of herself after she won the popularity of the Hungarian people, but Furutod would not allow her this joy. His Death Angels appear with a small coffin and presented it to her like a gift box. They opened the ‘gift’ and revealed the corpse of baby Sophie to her mother.

Sissi screeches in pain and anger, and Furutod wrapped his arms around her, again with tears streaming down his face.

♪♬ “On the eve of your wedding you danced Your eyes shining with love for me But the arms around you were the Emperor’s Do you remember? Now in my eyes too, my love for you shines But in my arms rests another Elisabeth, quickly acknowledge your love for me And realise that you will lead his Empire into ruins” ♪♬ - Der Tod

Furutod is easily the cruelest interpretation of Der Tod I have seen... and I have seen MANY. (Ack, I forgot to draw this scene... might add it later.)

Ultimatum

Sissi’s produced 3 children by now, but all were taken away by Sophie. Her only son Rudolf was but a young child, but he was being literally being whipped into discipline by Sophie. Whenever the boy would say he wanted to see his mother, Sophie would whip him, and tell him his mother is a bad influence.

Sophie did not like Elisabeth’s success in Hungary, so she had been controlling every aspect at the Austrian court.

Sissi’s had enough, and wrote an ultimatum to her husband, demanding that he needed to choose either her, or his mother. If he did not comply, then her legs door would always be closed to him.

Franz takes the letter, but did not know what to do, and left. Sissi did not seem to have a lot of faith in Franz to be able to stand up against Sophiezilla either, and almost crashes.

Then in her lowest moment, Der Tod appeared and showed her the understanding and compassion she could get nowhere else. He sings in a cooing voice:

♪♬ “Elisabeth... cry no more Rest embraced in my chest Now is the time you can finally be free in the eternal world where time never ends” ♪♬ - Der Tod

He touched her very gently, only ever guiding her with his finger tips, never pulling her. Here he respected her bodily autonomy which her husband would not.

♪♬ “Elisabeth... let us go just the two of us...” ♪♬

Sissi seemed to be falling for the temptation, and Furutod got carried away because for the first time in years, he seemed to be a bit more successful. He forgot to maintain his gentle act, and pushed Sissi down a bit too forcibly. Sissi snapped out of the dream, realising her seducer was not unlike her husband who’s been trying to force himself onto her, and pushed Der Tod away.

♪♬ “No, I will not run! It's still too soon to give up! As long as I am alive I can obtain my freedom Get out! I will never rely on you!” ♪♬ - Elisabeth

“MILK!”

‘Milk’ is such a powerful song...! Yamazaki’s powerful and slightly drunk voice is PERFECT for Lucheni... eternal sadness that 2019 is probably his last time as Lucheni...

Austria was suffering from famine, and the price of milk had sky-rocketed. Lucheni here poses as a milk merchant and sells milk to the starving people. There was barely enough milk left for one small jug however, and the people raged even further.

Lucheni then explains that all the milk is gone because it got into the bathtub of the Empress, who was using food to maintain her beauty.

♪♬ “Can the beauty of the Empress really save a nation!? Instead of looking at other countries Have some eyes for your own!” ♪♬ - Lucheni & Choir

After having successfully fueled the anger of the people, Lucheni then ships cans and cans of milk to the Imperial palace, where Sissi was having her beauty routine.

The Mirror Hall

Franz could not really keep it in his pants anymore, and finally decided to confront his mother. He gathered his courage and approached his wife, to tell her that she will have her authority as the children’s mother back, “so please, please sleep with me again.” Though this is exactly what Sissi wanted to hear, Franz started another train of spineless excuses for how he was toootally not a coward for NOT standing up against his mother, but that he merely had to abide his duty as the Emperor.

Sissi makes another power move. She showed herself in the iconic Empress Elisabeth dress, and presented herself so majestically she manages to shut her husband up. (Sorry, my art here cannot quite represent just HOW majestic she was...)

My sister’s self portrait does cover the reaction it demanded though!

When Franz wanted to get close to her, Sissi stopped Franz with but a mere hand-gesture. Though Sissi presented herself as a very elegant and perfect wife, her words carried a very strict warning that Franz should not mistake her as his property just because she’s happy he showed her basic decency.

♪♬ “I am pleased to hear your words I too wish to walk by your side, Your Majesty However, my life belongs to myself!” ♪♬ - Elisabeth

Franz was not the only one who was impressed, Furutod too had to begrudgingly admit he was one-upped by Sissi. Now that Sissi had determined to live on regardless of the hardships, Der Tod was forced to literally stay in the background, watching Elisabeth reconquering everything that was stripped away from her bit by bit.

♪♬ “Because I've permitted you another chance to live you ended up finding the purpose of life!” ♪♬ - Der Tod

The platform on which Furukawa stood rose up, and he pressed a hand onto his heart, raising his head to the sky.

Herewith, the curtains of the first Act fell (and while applauding, everybody shot up from the seats and bolted for the toilets.)

【Click here for Act 2 】

#Elisabeth #Das Musical #Furukawa Yuta #Yun #Yuntod #Furutod #Manaki Reika #Chapi #Sissi #Art Report #Review #Be prepared for ACT II #TOHO #Imperial Theatre

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