by Hiranmoy Lahiri
Hayao Miyazaki, one of Studio Ghibli‘s founders, announced his retirement after the release of “The Wind Rises” (2013), a move that might have taken many by surprise. However, his fans were not too surprised. This was not the first time he had announced his retirement. It was his third attempt to distance himself from the world of anime creation! Yet, as a creator deeply in love with the process of creation, stopping work seems not to be in his blood. Susan J. Napier, a professor at Tufts University who is an author and a well-known critic, remarked in an interview with The Guardian, “I think he’ll retire when he can no longer hold a pencil; the man was not made for retirement.” In fact, Studio Ghibli also took a break in 2014, after the supposed “retirement” of Miyazaki. They only made two movies before 2023: “The Red Turtle” (2016) and “Earwig and the Witch” (2020), their first 3D animated movie. “The Red Turtle” was created in collaboration with the Dutch animator Michaël Dudok de Wit and several European companies.
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Hayao Miyazaki’s long-awaited animated film “The Boy and the Heron” was finally released in 2023 and captivated audiences everywhere. The film quickly became a resounding success, winning many awards throughout the year. Securing a win in the “Best Motion Picture, Animated” category at the Golden Globes, the film continued to make waves in the next year, surprising many as it was the first anime ever to win that award. The film achieved another significant triumph, receiving the esteemed “Best Animated Feature Film” accolade at the Oscars.
Taking inspiration from various literary works, Miyazaki’s latest film shares autobiographical elements, much like his previous film, “The Wind Rises” (2013). However, this latest Ghibli animation has a much stronger sense of personal connection with the director, which becomes increasingly apparent as the story unfolds. The story of the film draws influences from literary works such as John Connolly’s “The Book of Lost Things” (2006) and Genzaburo Yoshino’s “How Do You Live?” (1937). Miyazaki seems to have used Connolly’s novel as the basis for this film. The narrative primarily follows the journey of the main character through an otherworldly and surreal realm, providing insight into the life of a young man named Mahito Maki. Centred on the philosophy of Yoshino’s novel, this coming-of-age story follows young Mahito’s journey as he undergoes a profound change in values and cultivates a more mature mindset. Nevertheless, despite sharing the same title as Yoshino’s novel, the film otherwise differs significantly from the book.
Mahito and Miyazaki share a tragic bond as they both had to endure the loss of their mother from a young age. The film explores the central theme of how Mahito’s loss, similar to the director’s own experience, profoundly affects him. Katsuji Miyazaki, Hayao Miyazaki’s father, held an important role at an aircraft factory, just like the young protagonist’s father in the film. Katsuji was employed as an aeronautical engineer at Miyazaki Airplane, which was their family-owned business. The film contains other elements that mirror the director’s own experiences. In a scenario reminiscent of Miyazaki’s own childhood, the main character in this film is forced to abandon Tokyo temporarily and find safety in the countryside as a result of the city being firebombed during World War II.
The films directed by Miyazaki in his career frequently address real-life scenarios, but the overall tone is almost always cheerful. Whether it’s “Nausicaä of the Valley of the Wind” (1984) or “Princess Mononoke” (1997), there’s always a silver lining – even if humanity is under imminent threat. No matter how dire the circumstances may appear, there is always a glimmer of hope. However, that is not the case here. The very first scene of this film differs from any other anime he has ever directed so far. It is incredibly striking, and it establishes the tone for the rest of the film. Mahito learns that his mother is trapped in a hospital fire and rushes out of his house to reach her. The animation here is frenzied, shadowy, and deeply unsettling. He dashes at full speed, causing colors to blur around him, while flames menacingly creep towards the edges of the screen, ready to consume everything and everyone. It brings forth a somber atmosphere that is reminiscent of Isao Takahata‘s “Grave of the Fireflies” (1988), deviating from the usual airy and whimsical style that the viewer is usually accustomed to. The director likely made a conscious decision in this regard, as Takahata was someone whom he respected and admired. Despite their different approaches to creating anime, they remained close friends and colleagues until the latter died in 2018.
It is important to note that the above scene was created by other Studio Ghibli animators. Miyazaki did not actively take part in the drawing or animation process. One of these talented animators is Shinya Ohira, who has worked on several other Studio Ghibli films. In fact, the entire movie is a testament to the extraordinary collective creativity of the team, as each animator contributes significantly to bringing the director’s vision to life.
As Mahito arrives at their affluent house in the village, the pace of the film slowly but steadily increases. Mahito is quite shocked to discover that his father has remarried, even though he maintains a polite demeanor. He gets enrolled in a local school. He struggles to find his place. Once again, a parallel can be drawn to Miyazaki’s own life, as he was somewhat of a loner during his early years. This can be attributed to a chronic illness that was considered fatal at the time, as well as his mother’s prolonged bedridden state because of her serious ailment. The film also unexpectedly delves into the sensitive subject of self-harm, which is not typically present in his previous works.
Eventually, Mahito discovers more about his stepmother, Natsuko, who is pregnant. As soon as a talking grey heron shows up, magical events start occurring. Mahito stumbles upon an old tower on their property, which has the ability to exist in multiple dimensions simultaneously. As he embarks on his journey to the mystical realm, he notices an inscription at the entrance of the tower that reads: “fecemi la divina potestate,” which, when translated, means “I was created by divine power.” Dante’s “The Divine Comedy” (“Inferno”, Canto III) features this line, which is inscribed on the gates of hell. However, the realm young Mahito is entering is not hell.
The inscription provides a glimpse into the future events that Mahito will discover as he explores further into the enigmatic tower. It implies the central themes of the ongoing struggle between reality and fantasy that he will eventually face. Eventually, he finds his mother, but not in the way he had imagined, and he also comes face to face with the lord of the realm – his long-lost granduncle who had built the mysterious tower around a huge rock that fell from outer space. After a journey full of surprises and loss, Mahito’s character undergoes a transformation as he returns from the other realm, realizing the importance of love, family, and personal values.
“The Boy and the Heron” is a richly layered and intricately complex creation. Besides discovering symbolism that reflects the actual conflict occurring outside in the “real” dimension, one can also uncover personal tributes made by the director. The portrayal of the granduncle can be seen as a way to pay homage to Takahata. In an interview with IndieWire, Toshio Suzuki (producer and one of the three co-founders of Studio Ghibli) said, “I agree that it is Miyazaki’s most personal film because he actually told me…. He said [Takahata] discovered his talent and added him to the staff. I think Takahata san was the one who helped him develop his ability. On the other hand, the relationship between the boy and the [heron] is a relationship where they don’t give in to each other, push and pull.”
Similar to other Ghibli works directed by Miyazaki, this film seamlessly integrates magic realism as a prominent component. The presence of talking animals, unusual events and alternative dimensions in the film intertwine to form a narrative that unmistakably reflects his artistic style. At times, these elements may remind viewers of the magical realism often associated with acclaimed Japanese author Haruki Murakami. Both creators share an exceptional style of incorporating fantastical themes that drive the story forward in a compelling way.
This is another thought-provoking film from the master animator’s imagination that encourages the younger generation to reflect on their world, exploring themes of loss, violence and anger. As well as obviously being a very personal project for Miyazaki, it is a film he wants the next generation to see. Indeed, in the US translation of the novel “How Do You Live?”, renowned author Neil Gaiman wrote in the book’s foreword about the then-upcoming film, “It’s a film he says he is making for his grandson, as a gift to the future”. Unlike many modern animated movies, this is a deeply contemplative piece that challenges viewers of all ages to reflect on what they have just seen and how it relates to the world around them.
Reports are circulating that Miyazaki, at the age of 83, is already working on his next project. However, given his advanced age, it remains to be seen whether this project will ever come to fruition. Additionally, Studio Ghibli is no longer operating as an independent entity. Nippon TV has acquired a significant 42.3 percent stake in the company, granting them voting rights. Even if this happens to be the last film directed by him, it will be a remarkable final achievement. He has already been honoured with two Oscars for “Best Animated Feature Film” and received a highly prestigious Honorary Oscar at the Academy’s Governors Awards in 2014.
In an interview taken in 2023, the Guillermo del Toro describes Miyazaki’s latest film as something truly extraordinary, likening it to the skillful strokes of an old master painter who has abandoned unnecessary tools and flourishes because he has nothing left to prove. It appears to him as “an incredible gesture with the brush.” Indeed, Miyazaki’s status as a master animator and director is already firmly established, and with this film, he has created something that is both unique and true to his creative spirit. This cinematic masterpiece is destined to be cherished for generations to come.
