Film Name: 魔幻仙踪 / Magic Wonderland
Judging by the title, I expected a story akin to Alice in Wonderland or The Wizard of Oz, but it turned out to be a female version of Shen Xiang Rescuing His Mother. Though somewhat off-topic, the film remains the best domestic animation I’ve seen so far this year, leaving me genuinely pleasantly surprised. It revealed the director’s profound affection for his daughter.
The film’s most brilliant moments are its deeply lyrical interludes, set against breathtaking ocean vistas that are truly breathtaking. Moreover, its humor elevates it above typical domestic animations. Two comedic pufferfish and a charmingly adorable spirit bear consistently drew laughter throughout the theater—and not just from the children.
Yet upon reflection, the film has its flaws. For instance, the protagonist Haiying lacks the credentials to defeat the Flame Demon King. The film still relies on the “birthright” trope: since Haiying’s mother is the queen of Fairy City, she naturally inherits magical abilities. Yet the film fails to depict the heroine’s growth or the technical training she must undergo. She shouldn’t possess power surpassing her mother’s—if her mother couldn’t defeat the Flame Demon King, why could she?
Another example: The pirates’ loyalty to the magician is touching, yet this devotion lacks motivation. The magician shows no concern for them, instead acting as a profoundly selfish individual. Is such a person truly worthy of loyalty? The pirates’ transformation from villains to heroes feels abrupt, especially since their past misdeeds—like bombarding the fishing village—receive no reckoning or repentance.
Another example: The film’s treatment of life and death feels careless. The queen, shattered to pieces, can be resurrected effortlessly, while the mage, seemingly crushed to death by the Flame Demon, emerges unscathed. This leaves audiences feeling the heroine’s victory comes at no cost whatsoever.
Fairy City is a matriarchal society where women wielding witchcraft dominate, while men either become protectors—like the polar bear—or adversaries—like the Flame Demon and the greedy wizard. As a child of a single mother, Haiying has battled various forms of male authority since birth—from the young boys in the fishing village to the wizard, and finally the Flame Demon. Of course, she also experiences the innocence of first love. Through quiet interactions with the handsome pirate ship mechanic, she begins to awaken to romance.
In fact, these two characters—one from a lineage of inheritance, the other self-made through effort; one wielding magic, the other mastering mechanical principles—seem like a promising complementary pairing. Yet one wonders: why does this film—directed personally by Mr. Wu of Zhongnan Animation (if I recall correctly, possibly their first animated feature)—which was intended as a tribute to his own daughter, deliver such a fierce critique of masculinity and patriarchy?
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