Crayon Shin-chan Movie 09: Arashi wo Yobu Mouretsu! Otona Teikoku no Gyakushuu

This is not only a masterpiece of Shin-chan series but also the masterpiece in my anime list just because of the several-minute silent-part in this movie.

The direction of the silent part ended by Hiroshi's sigh was really emotional. I watched this over 10 times because I wanted to compare other movies/animes with this. Always, these several minutes make me cry. No one dies but I cried! If someone's death is allowed, the direction of TV series "a place further than the universe" is better than this.

I think this is a farewell for our past. Our past is "dead" because we never get this back. ... Then, I cried. At the same time, our past is able to be "living" because this moment of one's life is based on that. Then, I cried, for Hiroshi's past and my past.

Except for this part, this is one of usual Shin-chan movies, funny family movies.

May have some spoilers.

This movie is a masterpiece, the reason to that is because the movie not only is enjoyable for children but is also for grown adults. The fact that it can grab a variety of different range of aged audience is what really makes this movie a fine work of art.

When I first watched this movie as a kid, I didn't realize how deep the story was and what it was trying to tell the audience. It was enjoyable, a good amount of action, the same characters with their same personality portraying their personalities in order to make everything return back to normal ... again in the end.

However, when I watched this movie again out of nostalgia after I became an adult, it was enough for me to shed tears. The reason is because this movie did incredibly well in trying to make their audience reminisce the past of when they were the children that used to watch this movie, so pure and young, not knowing what the actual meaning of this movie was.

I didn't realize why my mom started to sniffle when she watched this with me by my side.

Sometimes when I watch this movie, it makes me want to go back into the past so much. But knowing that I can't is what makes this movie even more great, because even if the culture is different since it is obviously made in Japan, it is still enough to make us think about why we were so happy as children.

This movie is the exact definition of "There may be people who haven't watched this film, but there aren't those who haven't watched this film only once."

Most of the shin-chan movies aren't only for children, and if anything a lot of them are probably not good for children to watch. That is why it's fascinating, because a totally youngling-targeted show can creep up onto people like us who are tired of adulthood, seeking for a way to flee from the reality that we live in, wanting to go back to when we were all young without any worries,

It certainly is an epiphany when you find out that the crudely dubbed show you used to watch on television (Shin-chan has been airing in India for quite a few years now, in Hindi) and which, apparently, is exclusively aimed at kids, is much deeper and inspiring than it appears. I can't speak for the other movies in this franchise, but this one certainly was.
The basic plot element, in one word, would be 'nostalgia.' Keeping spoilers to the minimum, the movie is about the circumstances that'd arise if adults were suddenly provided with the golden age of their childhood, the period they were brought up ... in, cheerful and gloomy moments alike, and the opportunity to live in it forever; and how our main cast struggles their way through it to earn their anticipated outcome.
Despite the seriousness of the plot, the film is thoroughly light-hearted and comical, as in accordance with the minimalistic art-style that keeps it apart from the rest of the medium as well as the misadventures of our eternally young 5 year old protagonist and his friends. That's why even the bus-chase that is over 10 minutes long, or the pointless acrobatics above the Tokyo tower never feels overbearing but makes the emotional moments even more captivating. The movie also doesn't miss out on inserting some social commentaries in between, which are gleefully lost among the puns and parodies. The story has a villain, or two to be precise, but they're portrayed as justice against justice rather than evil, and are on the softer side when it comes to implementation of violence to achieve their means, which gives them that humane touch that prototypical villains lack.
As already mentioned, the art is crude, as is the comedy, but it perfectly contributes to the overall feel of it. And it'd be a real shame to skip this one based on preference of visuals alone. Because here is something that has the colour of a sunset, joyously defies serious scrutiny should one even attempt it, and at the same time is culturally profound from a Japanese point of view, from the very first mahou-shoujo anime televised, right down to Taro Okamoto's avant-garde art and an escapist society of the early 21st century.