Il ragazzo e l'airone

Mahito's life is dramatically changed, he's lost his mother, and his father has started a new life in the country, escaping a war. One day Mahito follows a heron, and enters a whole new fantasy world.

This first thing I'm going to start with, the visuals, what a feast for the eyes, it is a vividly, beautiful film, some of the scenes are honestly captivating, not just the animations themselves, but the colours and creativity.

To be honest, I can't say I fully understood what was going on, I did find myself needing to read up about the plot, as some of it did go over my head, I imagine this improves with a second viewing.

It feels like a very personal story, I wonder if Miyazaki was exercising personal demons through it. As always there's a strong moral angle running through it, but plenty of really good scenes.

I'm nitpicking, but I did prefer Spirited Away, maybe simply because I found it easier to follow, but I'd recommend this very highly.

Worth seeing for the incredible visuals alone.

7/10.

A disjointed mess of a movie, with many confusing elements, and a non-cohesive storyline.

I went into it expecting a thoughtful farewell and bittersweet celebration of Miyazaki's legacy, and instead came out of the theater taken aback and disappointed. A work like this I would expect from Goro, not his father.

I cannot fathom how so many reviewers have given this movie nines or tens. By no means is it deserving of such high praise, and I have to believe this dissonance is due to fanboy-ism and an inability to criticize the work of someone they love.

Well, I love Miyazaki's work as well, but I also understand that it's important to be objective and not biased in an increasingly all too biased world.

I hope he creates another, and redeems himself, as I do not want this to be the note he ends his praise-worthy legacy on. Regardless, thanks for all the fantastic memories and moments you've already provided me, Mr. Miyazaki.

Not his best, but a very solid fairy tale from the master with lots of his trademark elements like stoic characters, spirit worlds, flying scenes and characters running through narrow passages.

It is stylistically comparable to Spirited Away and Howls Moving Castle, although a bit less epic in scope. Like those films it inhibits a certain darkness and maturity at times with a war as a backdrop, that is not really aimed at children. I personally liked it and wished that more filmmakers in animation would have similar aspirations, but I guess those who do are expelled to do short movies. But back to Miyazaki's movie: it is bursting with lots of ideas, symbolism and fairy tale motifs like Snow White (with a dead mother, seven dwarfettes and a glass coffin with a sleeping beauty). At other times the character dynamics invoke Jim Henson's Labyrinth, where the protagonist has to rescue a kidnapped loved one and work with a henchman who sells him out at every opportunity until they start bonding.

All the visual ideas are great but sometimes they can unnecessary bloat the picture. It is one of Miyazaki weaknesses to be over-indulgent and unfocused at times, sometimes he needs to tighten the story in certain places - especially during the last stretch it can feel exhausting. I still like the leisurely pace in the beginning and that the movie takes it's time to slowly pull us into another world/afterlife/beforelife however you want to call this place. There are beautiful visual metaphors like when the little balloon creatures fly off into the next world, one can say that those symbolize the protagonists own emotions bubbling up into the surface (this is also the first sequence where we see the main character smile and express genuine emitions) - and that he tries to repress those feelings. Especially towards his new stepmom which he tries to rescue seemingly out of pure obligation for his father. It is also no coincidence that we witness the appearance of an avatar of his real mother in that very same sequence - she tries to protect those cute balloons from hungry predators, but in the process burns most of them. The clinging to the ghost from the past is preventing a new blossoming/beginning. There simply aren't easy and clean-cut solutions, neither in nature nor our society.

There are certain moments where someone can get the impression that Miyazaki is making a statement towards his own legacy and the studio he helped to build. There are themes of responsibility & duty versus family sharing a lot of similarities to his last movie 'The Wind Rises' . I appreciated the ending, without getting into any spoiler territory, a lot of people wondered or were baffled why the final scene feels sort of "tacked on". But when you closely observe it, it is sound with the movie's themes and illustrates rather well the important choice of our main character.

Seeing The Boy and The Heron, Hayao Miyazaki's latest movie feels almost like a monumental event in and of itself. It was announced almost as a surprise with the words "Hayao Miyazaki's last movie". With this amount of hype, including the amazing reviews it's got from critics, my hype was built up to the max. The end result? Not what I expected, and that's ok!

Let's get to the positives, the animation is STUNNING. The way Hayao Miyazaki manages to build these worlds and characters is just an amazing feat, they all come alive with the colours and the movement. Another positive is the tone of the movie, I really hate Disney for trying to market this as a kid's movie, when it's not. It's got some unnerving and scary moments and themes that are not suited for kids, which is good. Hayao Miyazaki is at his best when he manages to blend the adult with the fantastical.

The actors are always amazing, I saw the Japanese dub so I don't know how the western VAs are doing but wow; they all do a fantastic job!

Now to the negatives... a huge thing about Studio Ghibli movies in general, especially the ones from Hayao Miyazaki, is that they're always by rule driven by the characters, it's their journey that's in the front. World building and narrative always takes a second place in his movies to be able to not distract from the characters journeys, big examples of this are Spirited Away and Howl's Moving Castle where the world building is built by very simple and effective means and rules. But here in the Boy and The Heron the world building is so convoluted and confusing it almost feels like he wanted it to take center stage in this movie and it's such a shame because it feels at like it's at odds with it's own main character who supposedly undergoes a deep deep emotional journey but it all finishes off in a very abrupt and unfitting send-off in the end which really confused me and just didn't feel like a good payoff.

Also the way this movie introduces characters left and right with no rhyme or reason is super confusing. Once again, Hayao Miyazaki did this very minimally in his past movies where the characters get room to be explored and to leave an impact in the story but here once again it's at odds with its own world building- it all feels very haphazard and messy. The Heron is a fun character but I don't feel like he or Mahito do or learn anything from these adventures.

Now, it may sound like I hated this movie, but I didn't. It's just that I care so much about Hayao Miyazaki movies and Studio Ghibli movies that I can't help to compare them to the movies we've seen before. And despite it not being Hayao Miyazaki's best it's still pretty good, it's very much worth a watch.

The imagery that completely stuck with me is when things overwhelm Mahito. From the frogs, to the pelicans, the warawara, the fish guts, and the parakeets. And Mahito's reaction is not even fight or flight. He stays still as if frozen and completely unable to react.

And that's maybe why it was important for Mahito to know that forgetting is normal. His feeling of loss and grief and the feeling of having to adjust to changes in his environment may be overwhelming and maybe a solution is trying to forget.

The granduncle is Miyazaki himself. He tries to find someone who can continue his legacy but in the end completely accepts that the worlds that he built and the stories he has told may crumble and completely be forgotten. And that is one truth that an artist will find hard to take.