He told Arab News Japan that it was a “glorious” experience to see his performance on the big screen. This era requires a special tune and performance for the screams, emotions as well interactions on different situations through the events.” He added it was an honor for him to work as the main voice actor of the first major Saudi-Japanese animated feature.Ībout the challenges that he faced during performing the voice of Aws, Al Nassar said: “One of the challenges of voicing Aws’ was understanding the era of the movie, since it happened during the pre-Islamic era.
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Usually, doing the voice of the protagonist requires a lot of energy and passion to do the best voice for it to attract the audience to the character and the main focus being on him,” Al Nassar explained. “Voicing Aws was a huge responsibility for me as he was the main protagonist of the movie. The Saudi voice actor added that he considered the role a new challenge, because every character needs a “new and different tune.” Thankfully, after checking and judging the voices from many people who did the trail sessions, I was contacted by the team, saying that I have been chosen as the Arabic voice of the protagonist of ‘The Journey’ movie,” he said.
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Maquia when the promised flower blooms dubbed movie#
Speaking exclusively to Arab News Japan, Al Nassar said his journey with the movie started with Manga Productions, when they were doing trail sessions for voice actors who were willing to do the voice of Aws for the journey movie. Production companies: P.A.DUBAI: Saudi co-founder of UAE-based of Dark Wingz Productions & Distribution Nassar Al Nassar voiced the Arabic version of ‘Aws,’ the protagonist of “The Journey” movie, the first major animated feature between Manga Productions and Toei Animation. The deadliest enemy of all, of course, is Time, and he takes center stage in a protracted, extremely teary and moving ending.Īdding to the lyricism of the film is the dreamy, epic theme music by Kenji Kawai ( Ghost in the Shell), while other incidental music sounds tacky and syrupy to Western ears. The storyline doesn’t explore motherhood much farther than this, but the emotional resonance is powerfully evocative.īut much more is still to come, including a civil war in Mezarte fought with cannons and swords. Just as was foretold, Maquia’s heart is broken, and her desperate efforts to convince herself she’s not a “real” mother make for some of the most touching scenes in the film. As an affectionate tyke, he swears he will protect her then he reaches the stage of teenage rebellion. Amid immense industrial smokestacks and intricate water wheels servicing the medieval-looking city, she finds grueling work in a tavern and learns how many sacrifices are required to be a mother.Īlthough Maquia matures emotionally, her body remains about the same, while Ariel grows up before her eyes. Meanwhile, Maquia and Ariel arrive in the city and go into hiding from the royal guards, who are on the look-out for lorphs. This subplot is barely developed, yet it paves the way for the arrival of the angry Krim, who appears on the earthly scene like a war goddess. She is supposed to inject the royal lineage with the seeds of immortality, but at a high price. Getting the worst of the raid on the lorphs is Leilia, who is taken to the invaders’ capital of Mezarte to become the bride of an obnoxious prince. Later they are taken in by a kindly peasant woman who is raising two sons on her own on a farm, giving way to long summer days of freedom and happiness in the lush countryside. She pries the orphan out of the murdered woman’s grip and calls him Ariel. He is tightly clutched in his dead mother’s arms. Though Maquia has been clearly warned never to fall in love, she loses her heart to the infant, whom she finds in a cottage that has been attacked by raiders. Completely alone now, she realizes she can never go home.
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Maquia’s abduction is terrifyingly rendered aboard a defective dragon that glows red-hot before crashing in a forested land. Their idyll is soon interrupted by the arrival of an army of fierce mechanical dragons, flown by soldiers under the command of the handsome Izor. In many ways, Maquia seems to represent an every-girl not particularly witty, brave or adventurous like her high-spirited best friend Leilia, who jumps off waterfalls and flies laughing through the air. Far from being Amazons, these ageless beings quietly carry out their mission of weaving the “Hibiol” cloth which measures the passage of time, very much like the Fates weaving their tapestries of human destiny. In a fantasy kingdom filled with Greek columns where only women reside, she lives with other blonde girls under the leadership of the stern Krim. Maquia looks like a little girl with a high-pitched voice, which she will keep throughout the pic as the years roll by. The free-flowing artwork is unmistakably Japanese in its preference for soft pastel colors and deep blue hues, and huge-eyed characters with snub noses.