Sneha Jaiswal's Blog, page 101

Five Heeramandi Characters Who Could’ve Used More Screen Space

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Sanjay Leela Bhansali’s Netflix series “Heeramandi” delves into the lives of courtesans in pre-partition Lahore, exploring themes of love, greed, envy, rivalry, betrayal, and patriotism. Centered around the courtesans of Shahi Mahal, a mansion run by Mallikajaan, the show spans eight episodes and features a diverse array of characters. While Manisha Koirala and Sonakshi Sinha deliver riveting performances as Mallikajaan and Fareedan, some other characters could have benefitted from more screen time to further enrich the story. Here’s a list of five (potentially great) characters who story arc didn’t get enough time (major story spoilers ahead) –

1. Bibbojaan – Aditi Rao Hydari’s Bibbo is one of the leading protagonists in “Heeramandi”, but despite being one of the few courtesans whose ambition and personality stretch beyond the four walls of Shahi Mahal and the arms of men who grace it, her character feels sidelined. Bibbo dreams of the country attaining freedom from British rule and secretly works to help and finance revolutionaries against the colonialists. Heeramandi’s climax heavily relies on the themes of freedom and Bibbo’s tragic fate for conspiring against British rules, yet, the earlier episodes of the series only give perfunctory glimpses into her role as a freedom fighter.

2. Ustaad – Indresh Malik as Ustaad is undeniably one of the most entertaining characters in Heeramandi, but unfortunately, he is also criminally caricatured and confined to the role of a mildly villainous pimp and gossip-queen. Despite Ustaad’s frequent appearances in crucial scenes, viewers are led to believe he might play a more pivotal role in the story, yet this expectation remains unfulfilled. Instead, his character merely provides comic relief or adds queer sexual tension without substantial development. It raises questions about why a prominent filmmaker like Sanjay Leela Bhansali still hesitates to give his queer characters more depth and refrain from perpetuating established stereotypes.

3. Saima – Shruti Sharma portrays Saima, a helper at Shahi Mahal who usually accompanies Mallikajan’s younger daughter, Alamzeb. While Mallikajan expects Alamzeb to make her debut as a courtesan, she discovers that Saima is a far more talented singer than her own daughter. Ironically, despite being a supporting character, Shruti Sharma’s portrayal of Saima outshines Alamzeb, a primary protagonist. By the last episode of “Heeramandi”, we only hear that Saima achieves success as a singer, but it would have been more satisfying to witness her turbulent journey—from being sold into the flesh trade to ultimately emerging as a successful singer.

4. Lajjo – Richa Chadda brilliantly portrays Lajjo, a courtesan hopelessly in love with a nawab and dreaming of marrying him. Her heart is shattered when he announces his marriage to another woman and, to humiliate her, invites her to perform at his wedding. Despite appearing in only two episodes, Richa Chadda packs an emotional punch in her portrayal of the lovelorn Lajjo, who drowns her sorrows in alcohol. Her character rivals that of Devdas, and while it makes sense for her not to be present throughout the series, glimpses of her initial romance with the nawab would have intensified Lajjo’s heartache. Such moments would have made her swan song in “Heeramandi” even more gut-wrenching.

5. Shama – Pratibha Ranta has one of the tiniest cameos in “Heeramandi” as Mallikajaan’s niece, Shama, who shares a fraught relationship with her young courtesan mother, Waheeda (Sanjeeda Sheikh). Some viewers might recall her as Jaya from “Laapata Ladies,” a leading protagonist. Despite her blink-and-miss appearance in Sanjay Leela Bhansali’s series, she manages to leave a favorable impression on viewers. The warped mother-daughter rivalry between Shama and Waheeda could’ve been explored further, but is not. Sanjeeda Sheikh gets her fair share of Waheeda, an excessively ambitious but envious courtesan, whom she portrays with the right amount of madness and fury.

Which Heeramandi character would you have liked to see more in the series?

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Hollywood Con Queen Review – Phone Sex, Lies, & A Global Con

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

“Hollywood Con Queen” on Apple TV+ is a three-part documentary series that follows the story of an international con artist who impersonated leading women of the film industry to dupe several freelance artists and professionals. The scam inflicted both financial and psychological tolls on its victims, the mental trauma often surpassing the financial losses incurred in several cases.

Directed by Chris Smith, “Hollywood Con Queen” features several interviews of those affected by the elaborate scam, who were made to fly to Indonesia after being led to believe that they would be working on a film or a series. A bulk of the narration is led by investigative journalist Scott Johnson who often covered the story for “The Hollywood Reporter”, a popular print and digital entertainment magazine, and went on to write a book on the case.

I recall reading about this case a few years ago, and it’s a captivating yet disturbing tale of lies, fabrication, and manipulation targeting unsuspecting working individuals. So when I saw “Hollywood Con Queen” on Apple TV+ I immediately recalled the news articles and was intrigued to watch the documentary series. With each of the three episodes lasting almost 50 minutes or more, the documentary’s pace can be quite sluggish.

Some victims had managed to record their conversations with the con artist impersonating different influential Hollywood personalities such as Amy Pascal, Deborah Snyder, and Wendi Deng Murdoch, to name a few. Some were also forced to have awkward sexual phone calls, or made to come on video-calls and asked to take their clothes off, while the other person wouldn’t even come on camera. While those clips obviously add a lot of authenticity to the docu-series, they could’ve been trimmed down. Especially since episode three, titled “Thank You For The Story,” features video interviews of the primary accused in the case. I am refraining from naming the person to keep this review spoiler-free for those who don’t know much about the “Hollywood Con Queen” scam.

The most intriguing aspect of this case is how the FBI initially failed to take the scam seriously. It wasn’t until a risk management firm, now known as K2 Integrity, began investigating on behalf of a high-profile client who was impersonated, and Nicole Kotsianas took a keen interest in the case, dedicated to assisting those affected. Kotsianas, who gives an elaborate interview in the documentary, reveals how she spoke to over 400 victims across the globe, who were lured into flying to Indonesia and losing money.

The last part of “Hollywood Con Queen” gives the perpetrator of the con too much screen space, where viewers see the story from the other side of the fence. Viewers get to listen to the story straight from the horse’s mouth, revealing a troubled childhood, traumatic experiences, and an unquenchable thirst for fame, attention, and validation. Of course, the interview needs to be taken with a pinch of salt; it’s a criminal trying to paint a favorable picture of themselves. Besides, as investigative journalist Scott Johnson, who gained the exclusive interview, puts it: mental health issues cannot be an excuse for someone to become a career criminal.

Watch “Hollywood Con Queen” if you enjoy true-crime stories and documentary series. It unravels a bizarre and elaborate con, driven not solely by financial gain but by the thrill of manipulating people like puppets.

You can stream Hollywood Con Queen on Apple TV+

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Demon Slayer Hashira Training Arc – Ep 1 Review

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Sanemi Shinazugawa, the Wind Hashira, and Obanai Iguro, the Snake Hashira, fight a horde of low-level demons in an old castle-like structure, the bloody face-off kicking off season four of the anime series “Demon Slayer – Kimetsu No Yaiba”, the Hashira Training Arc. The timeline is set just a few days after the events of Demon Slayer’s Swordsmith Village Arc, which, if you’d remember, ended with a strong twist – Nezuko develops resistance to sunlight, the first demon in history to do so.

Also Read: Demon Slayer Swordsmith Village Arc Review

Titled “In Order to Defeat Muzan Kibutsuji”, episode 4 of “Demon Slayer Hashira Training Arc” is almost 50 minutes long and sets a pretty clear agenda for the season. The Demon Slayer Corps immediately realizes that Muzan Kibutsuji, the demon king, will now be after Nezuko due to her new unique ability, one he has been trying to gain himself for years. So, Amane Ubuyashiki holds a meeting of all the active Hashiras, instructing them to brace for war and train all the other slayers to get stronger.

Ufotable animators had done a pretty impressive job with the opening episode of Demon Slayer’s Swordsmith Village Arc, giving viewers a fantastic glimpse into Muzan’s Infinity Castle, a mind-bending alternate dimension that keeps changing shape and is maintained by blood-demon art. However, the Hashira Training Arc opens with a grim, dimly lit setting—a ghostly grey castle—where Shinazugawa and Iguro slay a bunch of easy-to-kill demons. Fortunately, there’s plenty happening in the story, so even though the animation isn’t an upgrade from the last time, the plot keeps you invested in the proceedings.

While Tanjiro Kamado, the primary protagonist, is still recovering the severe wounds he sustained from his last fight, and there’s a renewed interest from all corners in his sister Nezuko, who is slowly evolving. His close slayer friends Zenitsu Agatsuma and Inosuke Hashibira, who weren’t part of the last arc, are finally back in the scene, which also means there are plenty of comical moments in the episode. I mean Zenitsu and Inosuke are almost synonymous with comedic-relief at this point in “Demon Slayer – Kimetsu No Yaiba”. Fans (and me) definitely missed them a lot in the last season, so it’s good to have their silly shenanigans back in action.

There might not be a lot of blood, deaths and tears in episode one of the Hashira Training Arc, but it ends with a lot of sweat, harsh training, an intriguing twist and the promise of an imminent brutal war between the demons and the slayers.

You can stream the series on Netflix, CrunchyRoll and JioCinema.

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Three Must-Watch Hayao Miyazaki Movies on Netflix

Sneha Jaiswal (Twitter | Instagram)

At the time of writing this article, almost all of Studio Ghibli movies are/were available to watch on Netflix.

While I recently saw “The Boy and the Heron,” directed by Hayao Miyazaki, on the big screen, which has been hailed by some critics as his best film yet, I respectfully would have to disagree. The movie features stunning animation, the kinds you cannot take your eyes off and a gorgeous tapestry of fantasy elements embedded into the theme of personal grief, however, it’s not my Miyazaki favorite. I feel these three movies by Hayao Miyazaki were a lot more memorable than “The Boy and the Heron” and they are all on Netflix –

1. Princess Mononoke (1997) – This is a breathtaking film which follows the adventures of Ashitaka, a young warrior cursed by a demon, as he sets out to seek a cure, he meets Princess Mononoke AKA San, a fierce girl raised by wolves. Ashitaka gets caught in a battle between a settlement led by Lady Eboshi, which is at war with the surrounding forest and its mystical creatures, including the enigmatic San. Set in medieval Japan, “Princess Mononoke” is an epic film that deals with the timeless conflict of “man versus nature”. Even though I saw the film sometime in the 2000s, I remember being amazed by both the animation and the storytelling. Besides, San’s character would hold special nostalgic value for those who love Mowgli from “The Jungle Book”, as like Mowgli, San is raised by animals and the forests are her real home.

2. My Neighbour Totoro (1988) – As someone who spent their childhood summers in a beautiful remote village, I absolutely loved this gem of a film that’s about two sisters moving to the countryside and meeting mystical fun creatures in the forest. Totoro is a large, bear-like, friendly forest spirit who befriends the sisters Satsuki and Mei, helping them cope up with their new life. Before fantasy fans became familiar with the magical Knight Bus from “Harry Potter”, Hayao Miyazaki gave us the magical “Catbus” in “My Neighbour Totoro”, a quirky, cute cat-shaped bus which quickly teleports creatures from the spirit world in the forest. Fun fact – Totoro also serves as the mascot for Studio Ghibli.

3. Ponyo (2008) – While not as popular as other Ghibli titles, Ponyo is definitely one of my favorite animated movies, a completely whimsical re-telling of “The Little Mermaid” through Miyazaki’s magical lens. Ponyo is a magical little fish girl who lives with her sisters under the strict rule of their wizard father. A rebel at hear, she leaves home day but becomes trapped in a bottle, and is rescued by a boy named Sousuke, and the two become instant best friends. Ponyo longs to become a human girl to live with Sousuke and defies her father to fulfill her dream. The hand-drawn backgrounds and animation are stunning in the movie, and I love how Miyazaki portrays the power of friendship and childhood innocence in the film.

Honorable mention – Spirited Away – The fantasy film about witches, ghosts, demons and what no is obviously one of the most famous Studio Ghibli title, even though it’s not my personal favorite. But given its amazing world-building and unique creatures, for many animation fans “Spirited Away” would surely be more memorable than a lot of other Ghibli creations.

If you are an animation enthusiast, be sure to check out these movies on Netflix. What’s you favorite Hayao Miyazaki movie?!

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Trinil: Kembalikan Tubuhku Review

Rating: 2 out of 5.

Sneha Jaiswal (Twitter | Instagram)

The Netflix description for Indonesian horror film “Trinil: Kembalikan Tubuhku” is compelling as hell – Returning home from their honeymoon, a couple find themselves haunted by a disembodied head seeking its missing body.

Director Hanung Bramantyo has co-written “Trinil” with Haqi Achmad, and the story is based on a radio play from 1980, a fact that’s acknowledge in the introductory credits of the film. The synopsis for the plot instantly reminded me of the offbeat 2019 French animated flick “I Lost My Body” (Original title: J’ai perdu mon corps), which is about a severed hand looking for its body. But while “I Lost My Body” was a slow-burn, metaphorical and almost poetic take on identity, “Trinil” is a campy horror movie, with awful special-effects and unintentionally funny moments.

Carmela van der Kruk portrays the principal protagonist Rara, the heiress of a sprawling tea estate afflicted with a string of mysterious deaths during her three-month honeymoon with her husband Sutan (Rangga Nattra). Upon their return, Rara begins to suffer from sleep paralysis, and a ghost begins to haunt the couple, prompting Sutan to enlist the help of a supernatural expert named Yusof (Fattah Amin). As Yusof begins to investigate the eerie events of the estate, buried truths of Rara’s cursed family begin to emerge, and the ghost demands its body back.

The characters of Rara and Sutan are poles apart, while Rara is a snobbish, domineering rich brat with a nasty attitude, Sutan her husband is completely henpecked and mousy. Neither of the characters are likable, so as a viewer, their haunting is rather hilarious, because you couldn’t care less if they died. Also, the twist in the tale becomes pretty apparent in the first half, although the back-story is quite intriguing, even if very trope-y.

While the tea plantation setting and Rara’s family bungalow make for great background in the tale, the special-effects of the ghostly head is pretty bad. “Trinil: Kembalikan Tubuhku” is a loud, exaggerated horror film, with mediocre performances and close to no scary scenes, despite an interesting premise. At least horror enthusiasts who watch scary titles on a regular basis will not find any chills in this offering. Surprisingly, the climax is a lot more earnest than the rest of the story, and if the makers had just toned down the garish special-effects and mawkish characterization of their primary character, “Trinil: Kembalikan Tubuhku” could’ve been a lot more memorable.

Rating: 4 on 10. You can stream “Trinil” on Netflix.

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From Truth, With Truth – Book Review

Rating: 4 out of 5.

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“This comic, zine, book, graphic novel or whatever you want to call it is from the heart. I don’t care what you call it as long as it does what it’s meant to do” – Lawrence Lindell.

Just a little over 100 pages, “From Truth, With Truth” by Lawrence Lindell is all sorts of things, but at its heart, it’s an illustrated memoir of the artist, sharing various glimpses of his life with the reader. From having to live in his maternal aunt’s living room after his parents got divorced and his mother was figuring things out, to moving back in with his father as an adult for a while because he had nowhere else to go, to being evicted and living sneakily with an ex, Lindell recalls how he was constantly moving around. It was between all these moves that he discovered his love for comics and drawing, which helped keep him distracted from a lot of his problems in life.

The artwork in “From Truth, With Truth” is simple, cute, and doodle-like. Lawrence Lindell employs bright colors to illustrate the various turbulent phases of his growth. And despite dwelling into serious themes, the creator does so with a dash of humor. Lindell candidly shares his journey of realizing the psychological impact of his parents’ divorce, further compounded by a traumatic mugging incident. He provides insight into his mental health struggles and the financial burdens stemming from education loans and low-paying jobs.

The book reads like a quick snapshot of a friend’s life—a friend you’ve lost touch with, a friend you didn’t know much about until they crafted a comic-book memoir, inviting you into their vulnerable corners to better understand them.

Rating: 4 on 5. “From Truth, With Truth” is also on Kindle Unlimited.

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Murder in Mahim Review – Raaz, Rana Redeem Bleak Noir

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

When a male sex worker is found brutally murdered at a local railway station’s public toilet in Mumbai, a retired journalist finds himself pulled into the investigation when his college-going son becomes a potential suspect. Things only worsen when more murders occur in connection to the same case.

Based on the novel by the same name by Jerry Pinto, the 2024 series “Murder in Mahim” has been directed by stars Vijay Raaz as Mumbai cop Shivajirao Jende who is in-charge of the murder investigation, while Ashutosh Rana plays retired journalist Peter Fernandes, who begins his own probe into the case to clear his son’s name. Coincidentally, Shiva and Peter, who happen to be estranged friends, also get an opportunity to reconcile their past conflicts while dealing with the case. Directed by Raj Acharya, the show is a slow-paced thriller that steadily unravels a complex web of multiple murders intertwined with an extortion racket.

Episode one begins with a dimly lit scene, where a young man called Proxy solicits sex at a public toilet and is gruesomely killed by a hooded man. Before the police can even get a decent lead on Proxy’s case, his friend, another gay sex worker, is also found murdered, triggering a media backlash over the investigation. Over the course of next few episodes, Shivajirao Jende and his junior Firdaus Rabbani (Shivani Raghuvanshi) try to gather enough clues to nab the culprit, but find themselves clutching at straws. It’s only when Peter Fernandes starts to put his investigative journalist experience to use that more concrete clues begin to appear.

While the first three episodes are gritty and well-paced, the tension and mystery eventually keeps getting diluted. The slow pace of the show, coupled with the juvenile approach of the cops to the case, make some chunks of “Murder in Mahim” a challenging viewing experience. For instance, when the cops eventually make an arrest in the case, they fail to conduct a thorough search at the suspect’s place for evidence. Surprisingly, it’s the journalist who ends up doing more groundwork than the law enforcement officers. If the intention was to depict the police’s lackadaisical attitude toward the case, it would have been understandable. However, there’s significant pressure on Jende to solve the mystery, and the cops are portrayed as sincere.

The cinematography of the series adheres to the staple elements of noir-style films, characterized by dimly lit scenes and shady settings. The creators skillfully depict class divisions and economic disparities among characters through their living spaces and neighborhoods. For instance, the honest Jende resides in a modest two-bedroom apartment shared with his wife, son, and father, while his corrupt junior inhabits a flashier flat, hinting at illicit income from bribes. However, some camera angles, such as unnecessary zoomed-in shots of characters’ faces during dialogue, prove distracting. Furthermore, the background music adds little to the storytelling or the gritty atmosphere of the narrative.

The timeline of “Murder in Mahim” is set before the decriminalization of Section 377 of the Indian Penal Code, which deemed consensual sex between individuals of the same sex as “unnatural” and punishable by law. The series dwells into the honey-trapping of gay individuals, and the prejudice, abuse, isolation, rejection they face from those around them. Its two lead protagonists – Shivajirao Jende and Peter Fernandes – one a tired cop, the other a retired journalist, are both heterosexual family men, who also hold biases against the queer community, but the murders make them look at queer individuals beyond the lens of superficial stereotypes and misconceptions. “Murder in Mahim” earnestly attempts is to prompt viewers to reflect on the significance of equal rights for all citizens, irrespective of their sexual preferences, and the psychological, emotional, and physical harm caused by the absence of these rights.

Vijay Raaz is pitch-perfect as the angst-ridden Mumbai cop Shivajirao Jende, while Ashutosh Rana takes some time to slip into the skin of his journalist character, but once he does, the two of them make an engaging investigative duo. Divya Jagdale, portraying Peter’s wife Millie, delivers a relatable performance as a concerned mother when their son Sunil (Rohan Verma) becomes a potential suspect. Like typical Indian parents, the Fernandeses are more concerned about whether their son is gay than the possibility that he could be a murderer. Shivaji Satam of C.I.D fame, has an amusing cameo as Shivajirao’s father Dhular, a disgraced former cop who shares a fraught relationship with his son. Rajesh Khattar portrays the flamboyant Leslie, Millie’s queer cousin, who aids Peter in understanding Mumbai’s queer culture. Unfortunately, his character is underdeveloped, lacking the depth and exploration needed for proper characterization. Ashitosh Gaikwad is riveting as Unit, a close friend of the first murder victim, who is often harassed by the cops over the case and for being an impoverished sex worker.

“Murder in Mahim” meanders through various issues, often focusing on family conflict, which are usually somber in tone, and sometimes manages to deliver subtle humorous moments. However, the series does manage to keep viewers guessing about the murderer’s identity and motives. Given the slow build-up to the finale, the big reveal lacks the revelatory impact one would expect and the murderer’s portrayal turns out to be the weakest link in the tale. I haven’t read Jerry Pinto’s original novel, but if the show writers have been faithful to the original source material, than the climax is quite disappointing, including a little health-related twist which was just problematic. One would’ve expected more nuance from a show based on a novel by an acclaimed writer.

Despite its flaws, “Murder in Mahim” is made watchable due to its lead performances, and its ability to maintain suspense and confusion over who is carrying out all the murders in the city.

You can stream “Murder in Mahim” on JioCinema.

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Exploring Loss: 8 Novels That Navigate Grief

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In literature, the theme of loss resonates deeply with readers, offering a poignant exploration of human emotions and experiences. Whether it’s the loss of a loved one, a family member, or a lover, these novels delve into the complexities of grief, offering solace, insight, and reflection.

“A Little Life” by Hanya Yanagihara (2015): This epic novel follows the lives of four college friends in New York City, delving into themes of trauma, friendship, and the enduring effects of childhood abuse.“The Light Between Oceans” by M.L. Stedman (2012): Set on a remote Australian island after World War I, this novel tells the story of a lighthouse keeper and his wife who rescue and raise a baby they find washed ashore, leading to heart-wrenching consequences.“Everything I Never Told You” by Celeste Ng (2014): After the mysterious death of their daughter Lydia, a Chinese American family in 1970s Ohio unravels as they grapple with their grief and hidden secrets.“The Art of Racing in the Rain” by Garth Stein (2008): Narrated by a dog named Enzo, this novel follows the life of a race car driver and his family as they face tragedy and loss, exploring themes of love, loyalty, and resilience.“Gilead” by Marilynne Robinson (2004): Written as a letter from an aging preacher to his young son, this Pulitzer Prize-winning novel reflects on the preacher’s life, faith, and the imminent loss he faces.“Extremely Loud and Incredibly Close” by Jonathan Safran Foer (2005): Following the death of his father in the September 11 attacks, nine-year-old Oskar Schell embarks on a quest across New York City to uncover the secrets his father left behind.“The Memory Keeper’s Daughter” by Kim Edwards (2005): After a doctor makes a fateful decision to send his newborn daughter, who has Down syndrome, away to an institution, his family is forever changed as they grapple with the consequences of his actions.“The Goldfinch” by Donna Tartt (2013): After surviving a tragic accident that kills his mother, Theo Decker clings to a small painting, “The Goldfinch,” as a tangible link to his past amidst a life marked by loss, trauma, and redemption.

These novels offer readers a diverse array of narratives that navigate the profound and universal theme of loss, inviting them to explore the depths of human emotion, resilience, and the enduring power of love and connection.

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Mother of the Bride Review – Bland Beach RomCom

Rating: 1.5 out of 5.

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Lana, an extremely busy and successful doctor, is completely taken aback when her darling daughter Emma announces her engagement, scheduled just a month away. As if that weren’t enough, further shock awaits her when she discovers Emma’s father-in-law-to-be is her ex-boyfriend from college.

Directed by Mark Waters and written by Robin Bernheim, the 2024 Netflix romantic comedy “Mother of the Bride” stars Brooke Shields as protagonist Lana. Benjamin Bratt portrays Will, the man who crushed Lana’s heart when they were younger. Miranda Cosgrove plays Lana’s chirpy-cute daughter Emma, a content creator all set to marry Will’s handsome son, RJ, played by Sean Teale. When the young couple learns of their parents’ history, they worry about how it will affect the wedding celebrations – and it certainly does!

All you need to do is watch the trailer for “Mother of the Bride” and that’s pretty much the film has to offer. It’s a generic, forgettable, formulaic romantic-comedy that doesn’t even try to do anything different, except for throwing in some “social-media” related upgrades to make it look fresh. Brooke Shields and Benjamin Bratt make an entertaining onscreen couple, but their potential is completely wasted in this bland script. Miranda Cosgrove and Sean Teale, portraying the to-be-married couple Emma and RJ, deliver some sweet scenes, but their chemistry feels tepid at best.

Since Emma’s wedding takes place in Phuket, viewers get some beautiful beach backdrop scenes. But except for pretty locations and cute costumes, there’s not much to “Mother of the Bride”. The funny scenes are barely funny and there isn’t enough time in the crisp 90-minute runtime to develop the romantic plot either. But given the flat story development, this shouldn’t have been any longer either. I was hoping for at least the climax to be a little offbeat, but even that was predictable, and sappy.

If you’re looking for a wedding themed romantic-comedy, where the parents cause trouble, watch Netflix’s “Ticket to Paradise” starring Julia Roberts and George Clooney, it’s formulaic too, but at least fun. The story is about the bride’s parents trying to stop her from getting married to a guy she just met in Bali.

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The Boy and the Heron Review – Dreamy and Disjointed

Rating: 3.5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Even though the teaser for Hayao Miyazaki’s “The Boy and the Heron” was extremely cryptic, a deliberate ploy to keep viewers intrigued, the glimpses offered held out a promise for an emotional tour de force. The fantasy film follows the adventures of Mahito, a school-going boy who leaves Tokyo with his father to live with his new stepmother Natsuko at her ancestral property, which is home to several bizarre happenings. A nosy grey heron promises to lead him to his mother, claiming she is alive, and even though Mahito doesn’t trust the bird, he embarks on a magical journey to an alternate world inhabited by strange creatures, including the living and the dead.

“The Boy and the Heron” (Original title: Kimitachi wa dô ikiru ka) starts with the ominous sounds of sirens, Mahito recalls how a raging blaze at a hospital claimed his mother’s life. The scene sets the tone for the primary theme of the tale – Mahito’s grief over the loss, his inability to move on and accept another woman into the family.

The animation by Studio Ghibli is stunning, I couldn’t take my eyes off the screens despite the slow-pace of the film, the slower moments let you savor the colors, details of the often dreamy backgrounds in “The Boy and the Heron”. From the gorgeously green countryside where Mahito moves in, to the expansive other-world realm he enters through an ancient, forlorn mansion, every second frame is a visual treat. And the character illustrations are amusing variations of previous Ghibli characters, such as the band of old ladies who work for Mahito’s stepmom, resembling the old granny from “Spirited Away” and the older Sophie from “Howl’s Moving Castle”.

The talking grey heron is, of course, the most curious character in “The Boy and the Heron.” It’s introduced as a mysterious yet majestic-looking creature that keeps circling around Mahito’s new home. As soon as it starts talking, it transforms into something more wicked and sinister, like a disguised creature luring Mahito into danger. But eventually, it becomes an almost comical ally for the young boy who isn’t sure of his place in the world.

There’s a very “When Marnie Was Here” kind of twist in the film, and if you’ve seen that one, you should know that “The Boy and the Heron” is almost as slow-paced, but it’s definitely imbued with more spirit and fantastical elements, making it more intriguing. Besides, “The Boy and the Heron” also keeps you in anticipation of a certain high point, a poignant curtain call, or some sort of twist that I kept waiting for, but it never arrives. Sure, Mahito learns an important lesson in the otherworld, but the execution leaves you wanting, and the second half simply feels disjointed from the rest of the story.

The tone remains serious and somber for most of the 2-hour runtime, except for a running gag about an old woman who is always looking to bum a cigarette off someone. Creator Hayao Miyazaki crafts his own rules for the fantasy world Mahito tumbles into with the grey heron, leaving viewers to draw their own conclusions about the place. It’s akin to a mystical underworld, serving as a bridge between the human world and a supernatural realm, with multiple portals to various parts and timelines of the world, resembling a custodian of time. Its weird distractions and curiosities give Mahito the time to heal his own wounds.

A bunch of colorful, sinister, talking parakeets get more screen time than some of the other human characters. Mahito doesn’t get to forge a strong bond with any humans he meets; there are no memorable friendships formed, and even his interactions with the Heron are merely transactional in some sense. If it weren’t for the dreamlike animation and settings, the striking ambient sounds, and a soothingly haunting background track, this could have been a tough watch. But if you liked/loved “When Marnie Was Here”, you are likely to enjoy “The Boy and the Heron” a lot more.

Rating: 7 on 10. “The Boy and the Heron” is running in Indian theaters right now.

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