Film Review #84: THE BOY AND THE HERON

Film Review #84: THE BOY AND THE HERON

*This film review may contain plot spoilers, reader discretion is advised.*

Renowned Studio Ghibli director Hayao Miyazaki has announced on three separate occasions his wishes to retire from filmmaking, all of which have resulted in him running right back to the animation studio when inspiration unexpectedly struck. Despite news circulating that he would retire a decade ago, his latest film, The Boy and the Heron, released over the summer in Japan following no prior advertising or publicity whatsoever, was a risky feat only surmountable by a highly successful and well-loved animation company like Studio Ghibli, whose work has left behind such a strong legacy. Only recently has the film been making its theatrical rounds globally for fans across the world to bear witness to what could possibly be Miyazaki’s final fantastical feature.

Film still from The Boy and The Heron

The Boy and the Heron tells the story of Mahito Maki (Soma Santoki), a young boy navigating through a world of grief and loss after his mother is killed in a fire during World War II in Japan. After his father (Takuya Kimura) remarries his late mother’s younger sister Natsuko (Yoshino Kimura), Mahito evacuates to the countryside, but struggles to adapt to his new family and surroundings. However, adventure soon awaits in the form of a grey heron (Masaki Suda), who informs Mahito that his mother is in fact alive and needs rescuing.

Like many of its predecessors, The Boy and the Heron sets its protagonist out on a coming-of-age journey to find his way in the world, rediscovering life’s purpose and meaning. The film’s Japanese title differs from the English one, translating to “How Do You Live?”, referencing the 1937 Japanese novel of the same name written by Genzaburo Yoshino. While the film is not an adaptation, it does share similarities with the original novel, mainly both protagonists grappling with the death of a parent and struggling to move on with their lives. At the mere age of 12, it’s no wonder Mahito doesn’t know how to move forward after his mother’s tragic death. So when a scene shows him finding a copy of the very novel gifted to him by his mother, it’s as if she has posed the very question to him, and Mahito hopes he can find the answers for himself, first from the novel, and later during the quest he embarks on.

As expected of Miyazaki, The Boy and the Heron is filled with charming, breathtaking animation from start to finish, accompanied by a spectacular soundtrack composed by long-time collaborator Joe Hisaishi. The film transports audiences to a wondrous, alternate universe in typical Ghibli fashion, where fantasy mixes with reality, animals and peculiar creatures come alive, and the souls of the living and dead coexist with one another. Hues of green, blue, and gold gorgeously paint the scenes, and I personally found that the most beautiful moments in this film were captured in between its quiet bits and moments of empty space, whether it be sequences of the luscious outdoor scenery and architecture, or a simple shot of a hallway with a glittering ceiling.

Film still from The Boy and The Heron

While it doesn’t beat out the studio’s more popular works, The Boy and the Heron remains a marvellous addition to Ghibli’s lineup of incredible films. It poses the same important question from the novel to its protagonist and audiences: how do you live your life despite the negative human experiences thrown your way, all while tackling subjects of grief and mourning? Overall, if Miyazaki means it this time about his retirement, this film feels like the perfect swansong of his career, though only the man himself can determine if and when he’s truly done with filmmaking.