‘The Boy and the Heron’

“The Boy and the Heron”
Director/Writer: Hayao Miyazaki
Stars: Christian Bale, Willem Dafoe, Mark Hamill

Hayao Miyazaki’s return with “The Boy and the Heron” after a decade-long hiatus is akin to a resounding symphony, marking a significant resurgence of his dormant voice. This eagerly awaited tale weaves personal experiences and artistic essence into a mesmerizing fable. 

“The Boy and the Heron” is set in 1944, during the time of the Pacific War, when Mahito Maki loses his mother in an air raid in Tokyo. As his family moves to the countryside, Mahito struggles to adjust to his new life with his father, his new stepmother (his mother’s younger sister), and several (hilarious) elderly ladies. One of the main themes of this film is dealing with loss. Mahito not only has to deal with the loss of his mother, but also the loss of his home in Tokyo due to the Pacific War. 

As he tries to adjust, this strange new world grows even stranger following the appearance of a persistent gray heron that perplexes and bedevils Mahito, dubbing him the “long-awaited one” and beckoning him toward a mysterious tower, promising that he will find his mother inside. 

From this point forward, the film takes a fantastical turn, sparking a surreal and enchanting adventure and showing us a timeless world full of evil parakeets and adorable cuddly creatures named Warawara (not-yet-born human souls waiting for life).

“The Boy and the Heron” seamlessly melds reality with fantasy, blurring the lines between imagination and emotional truth. Visually striking and artistically rich, it showcases Miyazaki’s unparalleled artistry, capturing both the vibrant landscapes of the fantasy world and the emotional depth of Mahito’s struggle against the rural backdrop. Every frame is a testament to Miyazaki’s enduring creativity, blending a child’s heroism with an elder’s wistful farewell.

While the gradual pacing of the narrative might test the patience of some viewers, particularly in its elongated first act, the payoff lies in the emotionally resonant climax. Mahito’s poignant decision to embrace the pain of reality over the allure of a fantasy world serves as a profound lesson on the complexities of adulthood and loss. Joe Hisaishi’s haunting score deepens the emotional resonance, adding layers to Mahito’s tribulations through loss, discovery, and resolution.

Miyazaki’s legacy weaves through the film, encapsulating themes of nature, wisdom and the human experience. While reminiscent of his previous works, the film stands as a testament to Miyazaki’s enduring creativity. Though it might falter at times in maintaining a cohesive narrative and fully engaging the protagonist, it remains a visual and emotional marvel, a testament to Miyazaki’s legacy. “The Boy and the Heron” transcends mere fantasy-adventure, inviting viewers to wander through Miyazaki’s imagination, intricately weaving themes of grief, creation, and storytelling embodied in a tower of magical stone blocks — a metaphor for Miyazaki’s artistic tools. Mahito’s journey ventures into a parallel world, showcasing Miyazaki’s mastery in mirroring reality within fantasy.

The film embodies Miyazaki’s final reflections, encapsulating themes of acceptance and impermanence. Every stone block, every creature, every brushstroke represents the delicate interplay between creativity and the human experience. Miyazaki’s swansong, if indeed it proves to be so, stands as a testament to his unparalleled artistry and thematic depth. “The Boy and the Heron” doesn’t merely echo his previous works; it encapsulates his lifelong concerns as an artist and a profound thinker. It’s an exploration of anguish, transformation, and the need to reconcile with the past, encapsulating Miyazaki’s thematic core.

While not reaching the dizzying heights of Miyazaki’s iconic masterpieces, the film remains a poignant addition to the director’s repertoire. Its rich emotions, magical worlds, and poignant storytelling solidify Miyazaki’s legacy as a visionary filmmaker. In a cinematic landscape where magic is scarce, “The Boy and the Heron” emerges as a beautiful, magical film that soars above its peers. Miyazaki’s bittersweet farewell is a poignant exploration of grief, wrapped in an enchanting tale that reaffirms the enduring legacy of a maestro defying retirement, transcending the ordinary, and inviting audiences into the whimsical intricacies of his artistic cosmos. ♦