The Boy and the Heron: Mark Kermode’s anime film review.
Our man of many movies, Mark Kermode, is here to review the new anime movie The Boy and the Heron – watch it above. What did we think at SFcrowsnest Towers? Read on, McDuff.
In the world of animation, few names carry the enchantment and reverence of Hayao Miyazaki. His latest masterpiece, “The Boy and the Heron”, is a testament to a career that refuses to bow down to the conventions of time. Miyazaki, the illustrious octogenarian, had once declared his retirement, but just like a magician who can’t resist the call of the stage, he’s back, and oh, how we’ve missed his wizardry!
“The Boy and the Heron” takes us to war-torn Tokyo, where young Mahito Maki, grappling with the loss of his mother, stumbles upon an abandoned tower. This is no ordinary edifice; it’s a portal to a world where the boundaries between the magical and the mundane blur. Here, Mahito meets a talking grey heron, who, in true Miyazaki fashion, is more than just a feathered friend. This heron is a guide, a sage, and a symbol of the mysteries that envelop our protagonist.
Miyazaki’s narrative is a tapestry woven with threads of his own childhood, colored by the Pacific War’s shadows and his father’s involvement in the manufacturing of fighter plane components. This personal touch adds a layer of authenticity that only enhances the film’s fantastical elements.
Let’s talk about the visuals. If you thought Studio Ghibli had peaked, think again. The animation in “The Boy and the Heron” is an ethereal dance of light and shadow, each frame a painting worthy of its own exhibit. And the score by Joe Hisaishi? Sublime. It’s like he whispers to each note, coaxing it to play its part in this symphonic odyssey.
The voice cast is a constellation of stars. Masaki Suda’s portrayal of the Grey Heron is a blend of wisdom and whimsy, while Robert Pattinson brings an unexpected depth to the English dub. And can we talk about the power-packed presence of Christian Bale, Mark Hamill, and Willem Dafoe? It’s like Miyazaki decided to have a mini-Hollywood gala in his animated realm.
But here’s where Miyazaki plays his masterstroke – the marketing, or the lack thereof. “The Boy and the Heron” was released with barely a whisper. No trailers, no sneak peeks, just a poster. It’s like he said, “Let the film speak for itself.” And speak it did, to the tune of US$128 million and counting.
In a cinematic landscape often marred by sequels and reboots, “The Boy and the Heron” stands as a beacon of original storytelling. It’s a journey through loss, growth, and the enduring power of imagination. Miyazaki doesn’t just create films; he creates worlds, and this one, with its layers of fantasy and reality, is a world I didn’t know I needed to visit until I did.
In conclusion, “The Boy and the Heron” is not just a film; it’s an experience, a Miyazaki classic that will linger in your thoughts long after the credits roll. It’s a reminder that in times of conflict and loss, there is always a place for magic and wonder. Thank you, Mr. Miyazaki, for not retiring. The world is brighter with your stories in it.
