Buzz
The Boy and the Heron (Vietnamese title: Thiếu niên và chim Diệc) has stirred excitement among audiences worldwide as the latest project from the leading Japanese and global film studio, Ghibli. Formerly known as How Do You Live, this film is considered the final masterpiece from the seasoned director, Hayao Miyazaki.
Set in 1943, amidst Japan's turmoil during the Pacific War, The Boy and the Heron follows the story of 12-year-old Mahito Maki and his father, who return to the suburbs of Tokyo after losing Mahito's mother in a hospital fire. Living with his aunt Natsuko and eccentric housemaids, Mahito encounters a peculiar sight: a heron constantly trying to approach him. One day, the mysterious heron speaks, promising Mahito a reunion with his mother if he ventures into an ancient tower within the forest. Thus begins Mahito's extraordinary adventure transcending space and time.
The film enjoyed a highly successful premiere in North America and various countries worldwide, surpassing Hollywood counterparts to dominate the North American box office. It marks the first Japanese animated film to achieve such remarkable success. After garnering acclaim in Japan and worldwide, the film reached Vietnamese audiences on December 15th.
'The Godfather' Hayao Miyazaki Reflects on Ghibli's Fate
Leading up to The Boy and the Heron's release, speculations circulated about the film being Hayao Miyazaki's 'farewell' project. Upon its release, the narrative further solidified this notion, portraying Miyazaki's desire to conclude his Ghibli legacy, allowing things to naturally unfold rather than entrusting Ghibli's future to others.
The King of Birds in The Boy and the Heron symbolizes Hayao Miyazaki himself, while the young protagonist Mahito represents his grandson. Instead of perpetuating the tradition of 'father to son' to ensure Ghibli's legacy lives on indefinitely, Miyazaki, through the character of the King of Birds, offers the next generation a choice and feels content if they choose not to inherit his 'spiritual child.'
Here, Mahito's decision to reject the tower's guardianship leads to a beautiful conclusion for the film. Reflecting Miyazaki's ideals, his descendants have the right to decline inheriting Ghibli, and that's perfectly fine. Ghibli will inevitably fade away from the cinematic landscape, and that's okay. Sometimes we must accept endings, even if the journey has been magnificent. It's through such acceptance that we learn to cherish the present moment, rather than worry endlessly about whether there will be light at the end of the tunnel.
The imagery is captivating, still enchanting the hearts of countless fans.
Setting aside Hayao Miyazaki's mixed emotions, The Boy and the Heron fulfills fans' expectations of a true Ghibli masterpiece. From its visuals, character designs to its color palette, it exudes the quintessential Ghibli essence, unchanged despite the passage of decades. Yet, there's one unique aspect, especially for Vietnamese audiences, as it marks the first time a Ghibli project has been screened on Vietnam's big screens, delivering advanced image quality, sharpness, and greater allure.
The world in The Boy and the Heron remains fantastical, evoking curiosity and brimming with peculiarities. The film introduces audiences to various fascinating creatures, such as the 'wara wara' (described by CBC News as 'white chewy candy that walks') or the continuously appearing flock of long-feathered parrots. Moreover, the project boldly explores the folklore of the 'otherworld' or the definition of 'life after death,' as Mahito embarks on a journey to reunite with his deceased stepmother Natsuko, only to unexpectedly encounter his late biological mother, Hisako. Thus, Mahito - representing both the director's descendants and the perspective of Ghibli-loving audiences - embarks on a journey of fragments, maturity, and acceptance.
Love properly, with all your heart.
Mahito, a boy who has endured much pain: losing his mother, seeing his father with a new wife, not getting along with his stepmother, and often hurting himself. That's one of the reasons he refuses to become the guardian of the tower, because he once thought of doing wrong. However, The Boy and the Heron isn't made to blame Mahito or just to find his mother, embarking on a fantastical adventure. Similar to Chihiro in Spirited Away, Mahito undergoes significant changes in perception and action in the film, gradually maturing and making big decisions for himself.
'You can continue to follow in my footsteps, try to control everything within your reach until the day you leave this realm of pain. Or, accept that life is chaos and you can only control a few things, then ultimately enjoy what you have,' the tower owner's dialogue is considered the most important line in The Boy and the Heron. We can't have everything we desire. Human strength is limited, and we can only control a few things. So why not devote our thoughts and emotions to them instead of trying to grasp everything?
Here, loving properly is one of the major messages that The Boy and the Heron aims to convey. Wanting everything for oneself is not the way to love. Love sometimes requires sacrifice, giving, and renunciation. However, proper love is also when we set aside the ego, see the good in others rather than just pointing out the bad, and show forgiveness to each other. When Mahito rejects the King of Birds' offer and accepts his stepmother Natsuko, that's when he learns the lesson of love for himself.
