This edition of Anime exploration is different, closer to home, with my intense love for Ghibli, and in particular Miyazaki. I understand I am the only one with that love, nobody else shares my taste and I am singular in getting comfort from these films. I had an incredible amount of expectations going into this film, with most of his films being ones that I would consider close to, if not, perfect. I had a comfort that I would like this film, but wasn’t sure it would live up to his earlier work.
However, this film has just as much heart and passion packed into it as some of the older ones do for me. It seems obvious that this story was precious to Miyazaki in the creation of the film, taking care to have the best on board for the creation of it.
We start with a worrying image of burning embers floating through the air, giving me flashbacks to Grave of the Fireflies. Mahito is awoken by the air raid sirens and frantic pattering of feet around his home, illuminated by a rampant blaze coming from the hospital, where his mother has been admitted. He runs after his father, Shoichi, through the panic-stricken people and stoic military enforcement until he is engulfed in the crowds, just in time to see the structure of the hospital crack, and crumble to the ground.
Two years later, he and his father leave Tokyo to live in the countryside with his aunt / new mother Natsuko, who is pregnant with Mahito’s new brother.
There is a gentle understanding from Natsuko of Mahito’s situation, she is attentive and caring towards him but doesn’t lash out when he is hesitant to accept her as his new mother figure.
When we arrive at this new country home, close to the location of Shoichi’s factory, we see a heron, eyeing up Mahito as he enters the home. The heron quickly makes his presence known by flying through the veranda and later knocking on Mahito’s bedroom window, just to wake him from his peaceful nap.
Mahito quickly goes back to school, where after one day he smashes a stone against his head to avoid having to go back…
This injury leaves him weak and bedridden, while the Heron gets closer and closer, becoming more of a menace to Mahito. He eventually builds up the strength and prepares to kill the bird by building his own bow and arrow. His murderous plans are halted when Natsuko suddenly disappears, only seen by Mahito wandering into the woods. Along with Kiriko (one of the many quintessential Ghibli grannies) Mahito ventures into the woods to bring Natsuki back home, only to be confronted by the Heron and transported to another world.
This other world is really where the magic of the story takes place, packed with creative ideas that help to build the environment. We meet some parakeets, a granduncle and even play with some building blocks for a while.
The worlds that Miyazaki creates are special for a reason, they are so fully realised and conceptualised that every single frame is firmly planted in the world, respecting the rules set out prior to creation. Every shot was present, from the continuity of lighting, movement and sound. At points, I was taken out of the film, putting on my little loser hat to step back and appreciate the creation.
The world creation and underlying messaging reminds me of Spirited Away in its snippets of morals and themes that don’t arch over the entire plot but setup, playout and conclude in shorter segments of time, giving you variety while also tying in those overarching messages and themes of defining a family, legacy and that all important grief.
It is such a special thing for me to have finally seen a Ghibli film on a big screen, and for it to be this one, in the London Film Festival, was even more special. The big screen did help me appreciate the visuals, which were breathtaking, utilising the Japanese landscape to create realistic and then hyperreal versions later on in the film. We see dynamic shots with movements and angles only really possible in the realm of animation. The colours are vivid and soft, almost bleeding into each other like watercolour from shot to shot and scene to scene.
There are quite a few films that have contrasting scenes from one to the next, attacking your eyes with a sudden light change but this film flowed the entire time, taking caution to keep you immersed in the film.
Unfortunately, I missed most of the visuals, while my eyes were blurred with tears from the annoyingly consistent Joe Hisaishi, creating some more beautiful study and sleep music for generations to come. The soundtrack fits right into his catalogue, while justifying itself with more staccato elements to the sounds towards the front of the film, where there are some slightly more “horror” sections.
I don’t have the desire to be objective in reviewing, especially with films that I felt so intensely and know my own justifications for. The beginning of the film takes a while to get into the magical world, but I enjoyed every second of the setup, getting to know the characters at a pace that worked for me. I have also seen reviews that note that the film seems to be too full to explore all of its themes but I see the themes feeding into each other, finalising their inclusion by building one of the main narrative themes, even in its small and “fleeting” manor.
I also read that is apparently not Miyazaki’s final film, so he has said on his final two films, that he is back to the drawing board like an addicted sportsperson who doesn’t know when to quit, although, in this case, he is not doing a physical sport he has clearly aged out of. With this film, he has proven to still be completely at the pinnacle of his craft, slotting this film alongside his decorated catalogue of art.
This film feels like such a perfect self portrait of someone later in life, looking back at time, grief and legacy. Telling this story from the perspective of someone just beginning their walk on the path, from the position of someone who has walked it, back and forth with his films. The Boy and the Heron lives up to any expectations I could have put on it, expanding my Grinch heart by three times the size and making me really miss my mum.
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