[!WARNING]
This article will inevitably contain ||spoiler content||. For the sake of the reading experience, spoilers have not been added, so it is strongly recommended to watch the original film completely before reading the main text.
One-Sentence Review#
"The Heron and the Boy" can be considered one of Hayao Miyazaki's "representative works," but "representative work" does not mean that it is a good piece. Here, "representative work" refers to the film's significant personal style of Miyazaki.
Plot Introduction#
In my view, the plot structure of this film still follows the classic three-act format, although the pacing of the first act is relatively slow (about 40 minutes), while the latter two acts switch scenes almost every ten minutes.
Act One - Loss and Rebirth#
The first act begins against the tumultuous backdrop of the Pacific War, where Mahito loses his mother, Hisako, due to the bombing of Tokyo. He is forced to form a new family with his father, Shoichi, the factory manager, and his adoptive mother, who is also his biological mother's sister, Natsuko. They move to an ancient mansion that carries the family's history and secrets. A heron flying past the eaves piques Mahito's curiosity and unease. While exploring the new home, Mahito unexpectedly discovers a mysterious stone tower deep in the forest—according to the grandmothers at home, this tower was built by his great-uncle, who completely disappeared after an accident.
Upon entering the new family, Mahito feels a sense of resistance towards his stepmother and, as a transfer student, struggles to fit in. On the first day of school, Mahito clashes with classmates during labor education. On his way home, trying to escape reality, he throws a stone and injures his own head. While recuperating at home, the strange heron appears at Mahito's window, mimicking his mother’s pleas for help, "Save me, Mahito, save me," and subsequently harasses Mahito multiple times, informing him that his mother is still alive, tormenting him deeply.
Natsuko, due to early pregnancy symptoms, has been bedridden for a long time, but one day she inexplicably gets out of bed and walks deep into the forest, disappearing. Mahito and his grandmother Kiriko go into the forest following her footprints and arrive at the mysterious tower. The so-called "living mother" created by the heron is actually just a statue it made, which Mahito considers a desecration of his mother, and he shoots the heron's long beak, transforming it from a bird into a comical human form. Just as Mahito demands the heron to return his adoptive mother Natsuko, the mysterious tower master appears at the top of the tower, ordering the heron to take Mahito and Kiriko to the "lower realm."
Thus, the first act ends.
Act Two - Awakening and Growth#
The Real World#
In the second act, as people in the real world search for Mahito and Natsuko, the servants reveal the past of the tower: shortly after the Meiji Restoration began, a mysterious meteorite fell by the local pond, which the great-uncle regarded as a treasure and built the strange tower around it. The old servants also inform Mahito's father, Shoichi, that Mahito's biological mother, Hisako, also mysteriously disappeared in the tower when she was young and only reappeared after a year.
After learning about the tower's past, Mahito's father, Shoichi, along with the family retainers, goes to the tower and unexpectedly discovers Mahito and Hiimi hiding in this world to escape the parrots. Just as he rushes forward, the human-shaped parrot rushes into the real world, and Shoichi is shocked to see the human-shaped parrot transform back into an ordinary parrot after returning to its original world.
The Lower Realm#
In the second act, Mahito is drawn from his struggles in daily life into a fantasy world called the "lower realm." In this new world filled with strange creatures and fantastical events, Mahito meets a younger version of Kiriko, who works as a fisherman caring for the souls of the deceased, transformed into "Warawara," and Hiimi, who can use fire magic. In this event, pelicans feed on Warawara, while parrots feed on humans, establishing their own empire.
At night, mature Warawara fly into the sky, embarking on the cycle of reincarnation. However, at this moment, the pelicans attack them, and Hiimi rushes over, using magic to attack the sky, driving away the pelicans while also injuring many Warawara. Mahito discovers an old pelican near the restroom, nearly dead from Hiimi's attack. The old pelican informs Mahito that the pelicans feed on Warawara because they cannot eat the sea fish here, and they have no choice but to do so to survive. While Mahito buries the old pelican, who has exhausted its energy and died, the heron suddenly appears beside him. After a struggle, they reconcile at the request of the young Kiriko and set off together to find the missing adoptive mother, Natsuko.
On the way to find Natsuko, they come across a blacksmith shop that has been occupied by a group of fierce parrots. Mahito falls into the trap of the parrots, while the heron is nowhere to be found. Fortunately, Hiimi arrives just in time to rescue Mahito and informs him that Natsuko is currently in the maternity room of the tower—the tower is a hub connecting various time and space, and it has now been occupied by the parrots. The two enter the tower together and arrive at a long corridor filled with numerous doors, each connecting to a different time and space. Their movements are once again discovered by the parrots, and to escape their pursuers, Mahito and Hiimi hurriedly open a door to escape to Mahito's original time and space, where they coincidentally encounter his father, Shoichi, who is looking for Mahito. Not wanting to give up on finding Natsuko, Mahito opens the door, allowing a large number of parrots to flood into the real world while he himself returns to the tower, ultimately reaching the maternity room where Natsuko is located.
In the maternity room, when Mahito tries to persuade Natsuko to return to the original world with him, the room begins to stir. Natsuko becomes furious at Mahito's appearance and emotionally exclaims, "I hate you the most." At the same time, a strong wind in the room tries to blow Mahito out. Mahito shouts "Mom Natsuko," sincerely accepting Natsuko and trying to bridge the gap between them. Mahito is ejected from the maternity room by a force and subsequently faints. Hiimi wishes to the tower master controlling the lower realm, hoping to let Mahito and Natsuko return to their original time, but is also affected by the stone's power and is thrown away, falling into a coma, and both are captured by the parrots.
Thus, the second act ends.
Act Three - Choices and the Return Journey#
While in a coma, Mahito meets the mysterious tower master he encountered at the top of the tower in a dream. The tower master is the great-uncle who went missing in the tower in the past and was believed to have died. Mahito then learns that the great-uncle's true identity is the manager who maintains the balance of the lower realm. He hopes Mahito can inherit his position to continue maintaining the balance of this strange realm.
Upon waking, Mahito finds himself captured in the kitchen of the parrots, and is later rescued by the heron disguised as a parrot. Upon learning that Hiimi has been captured by the parrot king and taken to the top of the tower with the intention of exchanging control of the tower, Mahito and the heron meet the great-uncle and Hiimi again, but the parrot king follows them. The great-uncle explains to Mahito how to balance the lower realm—by stacking thirteen blocks made of stones without malice to form a tower, and then removing one block each day. The great-uncle then clarifies that he needs someone with his bloodline and without malice to become his successor, but Mahito refuses his request, pointing to the injury on his head and stating that he harmed himself to escape, acknowledging the malice within himself and feeling unqualified, choosing instead to return to his own world. The parrot king is dissatisfied with the great-uncle's desire to delegate to a child, feeling that using blocks to balance the lower realm is inappropriate, and in a fit of anger, he shatters the pile of stones used to maintain the balance, causing the lower realm to begin to collapse and perish. The great-uncle chooses to stay and perish with the lower realm.
As everyone escapes, Kiriko arrives at the tower to save Natsuko, who is also fleeing. Arriving at the door connecting to the real world, Hiimi refuses Mahito's proposal to return to his world together, and admits that her true identity is the young Hisako. To ensure that Mahito's birth is not affected by the time paradox, she must return to her own time and willingly accepts her fate of being burned to death in the Tokyo bombing in the future. After accepting this fact, Mahito bids farewell to Hiimi, and both Mahito and the heron, as well as Hiimi and the young Kiriko, safely return to their original worlds.
Years later, the war also comes to an end. Mahito hears his stepmother Natsuko calling him and leaves his room. Mahito returns to Tokyo with his father, adoptive mother, and the younger brother born to his adoptive mother.
Thus, the film ends.
Hayao Miyazaki's Life Philosophy#
Hayao Miyazaki was born in 1941 and experienced the Pacific War and all subsequent periods—post-war recovery, economic rise, the Heisei boom, and the lost thirty years. His life is a microcosm of modern Japanese history. After witnessing many changes in Japanese society, he undoubtedly developed a unique understanding of life, and his values permeate his works, including "The Heron and the Boy." Personally, I believe this film, through the medium of animation, exposes the filth of the adult world.
Many film critics believe that "The Heron and the Boy" has a certain autobiographical nature and can be seen as Miyazaki's autobiographical film. Undoubtedly, there are some similarities between Miyazaki and the protagonist Mahito. As noted by Vision Magazine:
In the film "The Heron and the Boy," Mahito's father benefits from the wartime context due to his work in the aviation manufacturing industry, receiving a large number of orders, so much so that the products cannot be stored in the factory and must be temporarily placed in employees' homes, indicating that his life during the war was very affluent.
In real life, Miyazaki's father was an employee of "Miyazaki Aviation," run by the Miyazaki family, and until the end of World War II in 1945, Miyazaki enjoyed a relatively free childhood, which led to his lifelong interest in flying, a concept that recurs in many of his works.
However, regarding the family's wealth, in contrast to the hardships of the wartime background, Miyazaki seems somewhat out of place, which is also reflected in "The Heron and the Boy," where the father insists on driving a car that only wealthy families had at the time to take him to school to "show off."
But I do not think so, and the reasons will be elaborated in the Postscript.
Character Analysis#
Mahito - Confronting Inner Darkness, Mastering the Middle Way, Becoming "Real"#
To know what heaven does, and to know what man does, is the ultimate. To know what heaven does is to be born of heaven; to know what man does is to use what he knows to nurture what he does not know, and to end his life without deviating from the middle path, this is the fullness of knowledge. However, there is suffering. One must wait for knowledge to come before it is appropriate; what one waits for is not yet determined. How can one know what I call heaven is not man? What is called man is not heaven? And there is a real person, and then there is true knowledge.
What is a real person? The real person of old does not go against the few, does not strive for success, does not plot against the wise. If so, they do not regret their mistakes, nor do they take pride in their achievements. If so, they ascend without fear, enter water without getting wet, and enter fire without getting hot. This is how knowledge can ascend through the path.
The real person of old sleeps without dreaming, wakes without worry, eats without savoring, and breathes deeply. The breath of a real person is in the heels, while the breath of the masses is in the throat. Those who yield have voices like cries. Those who desire deeply have shallow heavenly secrets.
The real person of old does not know how to speak of life, does not know how to hate death; their exit is not hurried, their entrance is not blocked; they go and come freely. They do not forget where they began, nor do they seek where they end; they receive and rejoice, forget and return. This is called not using the heart to abandon the path, not using man to assist heaven. This is called a real person. If so, their heart and will are tranquil, their appearance serene, their demeanor like autumn, warm like spring, their joy and anger resonate with the four seasons, and they are in harmony with things without knowing their limits. Therefore, when the sage uses arms, they lose the country but do not lose the hearts of the people; they benefit and give to all things without loving people. Therefore, joy connects with things, not the sage; having kin is not benevolence; timing is not virtue; benefits and harms do not connect, not the gentleman; acting without losing oneself is not the scholar; losing oneself is not true, not the servant. If the fox does not accompany, the light, Bo Yi, Shu Qi, Ji Zi, Xu Yu, and others, are the roles of the servant, suitable for others but not self-suitable.
The real person of old is righteous but not partisan, if insufficient does not bear, with their cup does not harden, expands their emptiness without being extravagant, and appears joyful! They are not forced! They are not concerned with my appearance, nor with stopping my virtue, nor with the appearance of the world! They are not concerned with what cannot be controlled, nor with the appearance of good closure, nor with forgetting their words. Using punishment as the body, using propriety as wings, using knowledge as timing, using virtue as the cycle. Using punishment as the body is to be generous in killing; using propriety as wings is to act in the world; using knowledge as timing is to be forced by affairs; using virtue as the cycle is to say that those who have enough can reach the hill, and people truly believe in diligent action. Therefore, their love is one, and their dislike is one. Their one is one, and their non-one is one. Their one is to be a companion with heaven; their non-one is to be a companion with man. Heaven and man do not overcome each other; this is called a real person.
— "Zhuangzi: The Great Master"
The protagonist Mahito in the film is not only the core of the storyline but also a concrete representation of Miyazaki's exploration of the human spirit, symbolizing the path one should take in the journey of life. The protagonist's name—Mahito—is particularly thought-provoking, representing an idealized state of existence, that is, achieving perfect unity of body, mind, and spirit. In ancient Chinese texts, real person, ultimate person, sage, and virtuous person represent four levels of nurturing life and enlightenment, with the real person described as a wise individual who transcends worldly troubles, remains calm, and is unattached. Miyazaki may be aiming for the "real person" as a goal, hoping to find such a spiritual realm in his animations.
However, the Mahito in the animation is not flawless; he still harbors dark thoughts within. Yet he is aware of his evil, and this "awareness" gives him the ability to choose to reshape himself, breaking the future arranged by the great-uncle in the third act, rejecting confinement in a corner of the tower, and choosing to step out of the "lower realm," an illusory and unreal environment, to embrace the not-so-beautiful reality. At the end of the film, he declares his intention to build friendships, which not only signifies his transcendence of self and liberation from self-imposed constraints but also embodies an understanding of the world's integration, for all things will ultimately return to one, achieving a state of no self.
The Japanese title of this film is "君たちはどう生きるか" (How Will You Live?), paying homage to the novel of the same name by Yoshino Genzaburo. In this novel, the protagonist, young Copernicus, looks down from a high tower and realizes that he has briefly distanced himself from the mundane world, experiencing a moment of transcendence, but then becomes aware that he is part of the world and must breathe with it. From this, he begins to contemplate how he should live. The portrayal of Mahito in this film is not only Miyazaki's reflection on individual existence but also a questioning of humanity's position in the universe. This profound understanding of self and the world resonates with Mahito's life journey, exploring how to find balance in real life and how to achieve harmonious coexistence between self and the world in a state of no self.
At that time, Subhuti heard this sutra, deeply understood its meaning, and wept with sorrow, saying to the Buddha: "Rare, World Honored One! The Buddha speaks of such a profound classic; I have never heard such a sutra with the wisdom eye I have gained since ancient times. World Honored One! If there are still beings in the future who hear this sutra, with pure faith, they will give rise to the true reality. One should know that this person achieves the first rare merit. World Honored One! This true reality is non-reality; therefore, the Tathagata speaks of the name of true reality. World Honored One! Now that I have heard such a classic, it is not difficult to believe, understand, and uphold it. If in the future, after five hundred years, there are beings who hear this sutra, believe, understand, and uphold it, this person will be the first rare one. Why? This person has no self, no person, no being, no lifespan. Why? The self is non-self; the person, being, and lifespan are non-self. Why? Leaving all appearances is called all Buddhas."
— "Diamond Sutra"
Miyazaki's films resonate with the four lines of the "Diamond Sutra" in meaning, incorporating the philosophy of "no self" into Mahito's story. These four lines remind people to let go of attachment to self, others, beings, and time; only in this way can one truly liberate oneself and achieve inner peace. The characterization of Mahito vividly interprets this realm, as he ultimately reaches a state of no self through self-awareness and self-redemption, abandoning the obsession with escaping reality and choosing to embrace the not-so-beautiful reality of life. Through the character of Mahito, Miyazaki not only shows the audience how to face the dark side of the heart but also teaches us how to find balance between self and no self, thus living a more complete and kinder self. This film is a profound philosophical fable that allows the audience to enjoy a visual feast while also engaging in deep reflection on life and existence.
The Heron - No matter what, it will still walk with you#
The name "heron" (アオサギ) contains an interesting Japanese pun. The pronunciation "saki" can also be written as "詐欺" (sagi), meaning "fraud." In the film, the director also uses the heron to make a joke: "Herons are all liars, they only tell lies." Throughout the film, the heron repeatedly tells Mahito lies—creating a false statue of Mahito's mother, tricking Mahito into fixing the hole in its long beak, etc.
However, it cannot be denied that the heron still embarks on the mysterious journey to the underground world with Mahito. It is not just a fictional companion but also a tribute from Miyazaki to his close friends Toshio Suzuki and Isao Takahata. This film can be seen as a fable of the deep friendship between Miyazaki, Suzuki, and Takahata. In this character, we can see the shadows of both Toshio Suzuki and Isao Takahata.
Mr. Toshio Suzuki has always possessed a special openness and vitality, believing in the work philosophy: "Those who treat work as work are fools; it is interesting to treat work as a festival of fun." This image is similar to that of the heron in the film, who, regardless of the circumstances, always plays and jokes, seemingly indifferent to its mission. But in reality, it still helps Mahito as much as possible when he encounters difficulties, leading him to safety. According to Miyazaki, Mr. Suzuki has also injected vitality into the development of Studio Ghibli, just as the heron leads Mahito to explore the unknown, their mutual support has contributed to the studio's brilliance. The heron's existence is not only a guide on the journey but also a source of inspiration for life. Like Mr. Suzuki in Miyazaki's creative career, he accompanies, supports, and encourages Miyazaki, experiencing storms together. In the film's farewell scene, the heron warns Mahito that even if one day he forgets the details of this journey, the impact of those experiences will be deeply rooted in his heart, becoming the nourishment for future growth. This is Miyazaki's profound understanding of friendship and collaboration; even in the face of separation, the time spent together and the lessons learned will remain forever, becoming an indispensable support on the road of life.
Mr. Isao Takahata has always made Miyazaki feel both love and hate. He is a senior Miyazaki met at Toei Animation, who promoted the enthusiastic but low-ranking Miyazaki during the production of "The Adventures of Hols: Prince of the Sun." Due to his strong abilities, Miyazaki specifically requested Takahata to be the producer of "Nausicaä of the Valley of the Wind." The two collaborated on many animations from Toei Animation to Studio Ghibli. When asked in an interview if he dreams, Miyazaki once replied: "I only have one dream, and that is for the protagonist to always be Mr. Takahata." He has a deep nostalgia for the youthful Takahata, saying: "In terms of character and appearance, he is not good-looking, even a bit ugly, but he has a very human charm that made me fall in love with him."
The image of the heron is not only Miyazaki's respect for Mr. Suzuki and Mr. Takahata but also a tribute to all those who accompany and support us in life. They, like the heron, guide us through the fog of life, ensuring that we are not alone on the path of exploration and growth. Even if one day they are far away, the traces they leave behind will permanently influence our lives.
Hiimi - The Upright, Sunny, and Pure Mother Figure#
In Japanese, the name Hiimi (ヒミ) is clearly a variant of Hisako (ヒサコ). The director establishes the true identity of this character at the beginning of her appearance and reflects this through multiple details—in the second act, the servants in the real world mention that Hisako disappeared in the tower for about a year when she was around Mahito's age, and when she came out, she had forgotten everything that happened there and only smiled; when Mahito mentions that he came to the lower realm to find his adoptive mother Natsuko, Hiimi points out that she is his sister; and after making sandwiches for Mahito, he also says, "It tastes like what mom makes." Therefore, when Hiimi confirms her identity as a mother at the end of the film, it does not surprise the audience.
Just as her image in the film suggests, Hiimi's heart harbors no malice towards the outside world, resembling a pure and flawless gem in the lower realm. In the film, the unconscious Hiimi is placed in a luxurious crystal coffin, like a precious collectible being placed in a glass display case.
The great-uncle in the film once said, "I am too old and need someone with my bloodline," but why not cultivate Hiimi as a successor earlier? Clearly, Hiimi has stayed in this world long enough and possesses some talents. The answer to this question lies precisely in the fact that Hiimi's character is too good, too upright. Although the lower realm is not large, it still requires scheming, but her upright, beautiful, and bright image is not suitable for her to hold power here. She does not need to become the controller of the lower realm, and thus there is no need for her to undergo training.
Moreover, as the "mother" figure in Miyazaki's films, Hiimi represents a higher-level character. Although she lives in the lower realm, she has seen through and transcended the illusions within it. What she can feel is not the evil, contradictions, and filth of the world, but pure "love," a higher-level soul that does not belong to the lower realm. She does not belong to the lower realm, and thus must leave at the end.
Hiimi chooses to open the door and return to the real world at the film's conclusion—despite Mahito trying to stop her, telling her that if she goes back, she will die in the Tokyo bombing in the future. But Hiimi responds positively, "I can't wait to be your mom; I'm not afraid of fire," creating a great, shining female image of motherhood.
Kiriko - Caring for Others, the Hidden Ascetic with No Self in the World#
Although Kiriko is a servant in Mahito's household in the film, this character also symbolizes the kind elders we encounter in real life, who care for and support us in the workplace. Such characters often seem inconspicuous in life and may not attract our special attention; at times, we may even hold biases against them—(they are) old and decrepit, conservative and narrow-minded, only doing the simplest of tasks. In modern society, people tend to become increasingly self-centered, making it difficult to fully understand them and see the essence of characters like Kiriko.
When Kiriko appears in her younger form in the second act, the audience cannot immediately connect her with the older Kiriko from the first act. In the lower realm, Kiriko becomes a young and powerful fisherman. This character instantly becomes significant, prompting both Mahito and us to pay attention to her—Mahito is saved in the film because of Kiriko, and he learns many useful skills from her that enable him to survive in the lower realm. We often only come to recognize the achievements of our elders and workplace mentors after learning about their past accomplishments, shedding our previous biases and truly seeing the shining points in their characters.
When Mahito and the heron set off to find Natsuko, she chooses not to join the adventure, opting to stay behind and care for Warawara—Warawara are beings transformed from the deceased in the real world, and when mature, they fly into the sky to reincarnate, achieving rebirth. This choice reflects her inner ascetic image; she lives without self, dedicating her life to helping others, which is precisely the quality we encounter in the kind elders and mentors in our lives.
Miyazaki's Creative Philosophy#
This film can be seen as a reflection of Miyazaki's animation creation process. As seen earlier, Mahito may symbolize Miyazaki, the heron symbolizes his friends and colleagues, while Kiriko represents the mentors guiding him.
From this perspective, the lower realm can be viewed as a symbol of Studio Ghibli. In the lower realm, we can see shadows and homage to Miyazaki's other works. The great-uncle building the lower realm can also be seen as another incarnation of Miyazaki. When the servants describe him as "smart but overly bookish, becoming eccentric," it may be a self-deprecating remark about Miyazaki's later state.
The construction of the tower can reflect Miyazaki's animation creation process. The core of the tower is an external meteorite, suggesting that his works are influenced by predecessors, such as "The Heron and the Boy" referencing "How Will You Live?" and "The Book of Lost Things." The difficulties in building the tower may symbolize the challenges Miyazaki faced in his creative process, such as difficulties in team collaboration.
The stone blocks represent the many works in the animation industry. When the great-uncle selects thirteen blocks to build the tower and then removes them, if we view Mahito as the young Miyazaki entering the animation industry, the great-uncle symbolizes the predecessors in the animation field. Mahito, flowing with the great-uncle's blood (inheriting the spirit of the predecessors), can accomplish tasks that only those with the great-uncle's bloodline can do (i.e., creating animation).
This line of thought seems unable to explain the plot where Mahito points out that these blocks "are made from malicious tombstones" and refuses to inherit the great-uncle's legacy. However, we can also observe that from "The Castle of Cagliostro" to "The Heron and the Boy," Miyazaki has indeed completed thirteen works. If the great-uncle here represents the elderly Miyazaki himself, and Mahito at this time does not represent Miyazaki but rather his son Goro Miyazaki, this seems to make sense. Miyazaki has produced several works and hopes Goro will inherit his work, adding "his own blocks" later, while Goro refuses to inherit the family business, and Miyazaki no longer insists on bloodline inheritance.
Postscript - We Don't Need to Deliberately Understand "The Heron and the Boy"#
This is not Miyazaki's autobiographical film#
Hayao Miyazaki was born in Tokyo in 1941, the second of four brothers. His mother suffered from severe tuberculosis and was often hospitalized. In 1944, the family moved to Utsunomiya City in Tochigi Prefecture, and five years after the war, they returned to Tokyo. This is similar to the growth background of the protagonist Mahito in "The Heron and the Boy."
Miyazaki relied heavily on his mother from a young age, but due to her poor health, she could not take care of him and his brothers well, which had a significant impact on him. He is candid about this and has created strong maternal characters in many of his works. In "The Heron and the Boy," the plot where Mahito ventures to save his mother reveals a deep emotional connection to maternal love, leading one to speculate that this may be an autobiographical work of Miyazaki. However, this interpretation is too direct and offers limited help in understanding the film, and the label of "autobiography" is not accurate.
Since Miyazaki and Ghibli began preparing this work, it has been known that Miyazaki's "The Heron and the Boy" is derived from Yoshino Genzaburo's "How Will You Live?" However, according to Miyazaki's creative habit, his works usually only borrow from the original, and the relationship with the original is often minimal, resembling a reference rather than an adaptation. The storyline of "The Heron and the Boy" has little correlation with the original "How Will You Live?" More accurately, Miyazaki merely borrowed the title. He adopted the title not to serve as the core theme of the film. If this were to become the theme, then the film could be viewed as an autobiographical work, where the creator weaves their own experiences into a complete life story presented to the audience.
If this were truly the case, critics and audiences attempting to glimpse Miyazaki's personal history from the film would naturally have their rationale. However, if one cannot deeply understand it, there is no need to feel regret. Personally, I do not believe Miyazaki intends to summarize his life through "The Heron and the Boy"; this film is not autobiographical.
Some critics argue that Miyazaki uses the title to challenge the audience. They believe Miyazaki expects the audience to ponder this question after watching: "How will you live?" However, I think this interpretation lacks basis. Miyazaki has never directly questioned the audience in his works, and his style does not support such an approach, especially at his age; I do not believe he would do so.
I believe that "How will you live?" is a question Miyazaki poses to himself. This film, as his swan song, aims to answer this question, but he does not intend to provide a serious solution or a self-help message; rather, he presents it through the flow of memories or the flowing of recollections.
This is a capricious life slideshow#
Miyazaki uses this film to trace his life trajectory, but his purpose is not to provide a complete answer. This is not only because life's questions are difficult to answer simply, but also because he may not expect to seek answers in his works; instead, he longs to express his personal reactions to these questions. The flowing memories in the film resemble a slideshow, naturally surfacing, allowing the audience to feel the free flow of his inner world.
For Miyazaki, which memories choose to surface and how they flow and present may imply some deep meaning, even if he himself may not fully realize it. Viewing these memories as his repeated reflections on his past and present, rather than a deliberate narrative to the audience, may align more closely with his creative intent.
Therefore, while many film reviews may seem reasonable, they often lack comprehensive persuasiveness. Audiences trying to find a structure similar to ordinary narrative films in the movie often find it futile or forced. Just as I attempted to correlate the film's characters with someone in Miyazaki's real life in the earlier section on creative philosophy, I found it impossible to find a reasonable answer. The characters in the film may be transformations of someone in Miyazaki's life or a combination or overlap of multiple people's traits. Because this film is not autobiographical, but rather a natural flow of important personal memories.
Moreover, the flow of these memories contains traces of Miyazaki's past works, as these works hold significant meaning for him. Classic scenes and visual elements from films like "My Neighbor Totoro" and "Kiki's Delivery Service" appear in the movie, and even the scene of Mahito's father driving evokes memories of "The Castle of Cagliostro." However, these "Easter eggs" are not deliberately inserted but flow naturally, allowing the audience to appreciate and associate freely without rushing to refer to reviews for all the answers.
Similarly, even if there are many parts of the film that are difficult to understand, each viewer can still grasp the profound meanings Miyazaki wishes to convey, such as the warmth of familial love, the self-reflection of the creator, and the duality of human nature. These feelings do not require guidance from reviews; they can serve as a final dialogue with Miyazaki, hidden in the heart, as this may be the last opportunity.
Although some parts may be obscure, I still believe that every viewer can capture the significance Miyazaki wants to share.
How should we appreciate Miyazaki's films#
After watching "The Heron and the Boy" and studying numerous reviews, a question arose in my mind: Does the general perception that this film is difficult to understand imply that Miyazaki's previous works were easy to comprehend? In fact, not telling the story clearly is a significant characteristic of Miyazaki's works.
If you are a fan of Miyazaki's animations, looking back, have you ever experienced a situation where a certain scene or plot left you confused, or you only partially understood its meaning? Surely there have been instances, but because we grasped the main axis of the work, we overlooked those vague details.
This does not mean that Miyazaki neglects the audience; he actually strives to make his works more relatable, allowing viewers to feel joy while watching. However, the capricious impulse deep within him has never disappeared; he occasionally allows protagonists to do nonsensical things simply to follow his intuition. This contradiction is a burden for Miyazaki.
This may explain why he has repeatedly announced his retirement only to release new works: he has never found a conclusion that allows him to fully express his capriciousness. "The Wind Rises" was once considered his last work, but it differs from Miyazaki's previous style as it is based on the true story of Jiro Horikoshi. In this work, Miyazaki's attitudes toward war, weapons, and life philosophy are revealed. However, even so, "The Wind Rises" remains a carefully considered and balanced work; if it were to serve as the endpoint of his career, he would likely not feel satisfied or at peace.
Thus, "The Heron and the Boy" becomes Miyazaki's capricious attempt, allowing emotions and memories to flow freely, with the story developing naturally without considering audience expectations. I speculate that this is precisely why he chose to create this film after "The Wind Rises."
Since Miyazaki has presented his capriciousness so freely in "The Heron and the Boy," his honesty is incredibly touching, even if our understanding of the film is not deep enough. In fact, when we let go of our obsession with understanding, we can gain a deeper emotional resonance. This feeling is distinctly different from previous experiences watching Miyazaki's works, as this time, we seem to witness a slideshow of a dear friend's life, listening to his capricious recollections, making this emotional resonance particularly sincere.
Saying goodbye to Ghibli on screen#
Speaking of Miyazaki's capriciousness, it is inseparable from the establishment of Ghibli. In 1984, while preparing to shoot "Nausicaä of the Valley of the Wind," Miyazaki realized that it would be difficult to establish a foothold in the film market without a stable company structure. Thus, he co-founded Studio Ghibli with Isao Takahata and Toshio Suzuki. Although Miyazaki and Takahata are not good at considering market factors, they understand that films need a reality aspect, which is where Suzuki's value lies. Suzuki successfully maintained the creative enthusiasm and freedom of the two genius creators while also pushing Ghibli into the international market, earning their high trust, which is no easy feat.
Isao Takahata passed away in 2018 at the age of 82, Miyazaki is now also 82, and Toshio Suzuki is 75. Although Ghibli has produced works by other directors and attempted to cultivate successors, it seems Suzuki has no intention of continuing the operation. Reports suggest that a Japanese television station will acquire Ghibli, raising questions about the future of Ghibli.
As a brand and organization, Ghibli stands out in both product characteristics and corporate models in the Japanese animation industry and even globally, its irreplaceable nature is evident. Now, Suzuki may no longer wish to restrict Miyazaki's creativity, allowing his ideas to be realized freely. This "zero promotion" film is not only a capricious work by Miyazaki but also a brilliant demonstration of Suzuki's marketing strategy.
After watching "The Heron and the Boy" twice, I deeply realize that Miyazaki is fortunate to have completed such a work in his later years. I believe this belief allows "The Heron and the Boy" to transcend the limits of understanding, becoming a warm and beautiful existence, deeply rooted in the hearts of the audience alongside Miyazaki's other works.
Further Reading#
Creation Diary#
2024-04-06 23:00 Completed the article outline.
2024-04-08 16:30 Completed the plot introduction section.
2024-04-10 23:05 Completed various data collection, started film analysis, began the first layer of analysis, completed character analysis of Mahito and the heron, outlined main points of creative philosophy and life philosophy, completed the beginning of the second layer of analysis, determined the directions of character analysis and anti-war thoughts. Set the direction for the postscript content.
2024-04-11 10:30 Completed character analysis of Hiimi and Kiriko, began writing about Miyazaki's creative philosophy and the Oedipus complex.
2024-04-11 18:30 Restructured the article, separating the content of the Oedipus complex and anti-war thoughts into a new article, completed the writing of the postscript, and optimized some textual expressions.
2024-04-12 01:50 Added supporting images, finalized the article.
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