‘The Glassworker’ Review: Pakistan’s First Hand-drawn Feature Feels Like an Homage to Miyazaki

As a film enthusiast with a soft spot for Studio Ghibli and a penchant for animated features that delve deep into human emotions, I must say “The Glassworker” is a truly enchanting gem. Having traversed through numerous anime films from Japan, it’s quite refreshing to see such a heartfelt homage to Miyazaki‘s work, yet rooted in Pakistani culture and aesthetics.

Channeling Hayao Miyazaki, the Japanese animation mastermind behind “The Boy and the Heron” and numerous other works, is no small feat. Yet, Pakistani production “The Glassworker” doesn’t just mimic his unique style; it delves deeper into the anti-war themes that are central to much of Miyazaki’s work, as well as Studio Ghibli productions like “Grave of the Fireflies,” directed by Isao Takahata. The end result is a film that, like many Ghibli creations, strikes a balance between being comfortingly familiar and refreshingly new.

In a cinematic first for Pakistan, “The Glassworker,” directed by Usman Riaz, is the nation’s inaugural fully hand-drawn feature film, skillfully produced by Mano Animation Studios under the guidance of Geoffrey Wexler, a former producer from Studio Ghibli. The movie carries a strong resemblance to the artistic sensibilities of Hayao Miyazaki, evident in its intricate plotline and setting: a colorful early-20th-century town named Waterfront, which blends European and Asian (specifically Pakistani) architectural elements. The architecture is reminiscent of Dutch Renaissance style, while the inhabitants, who represent various ethnicities, dress in both Western attire and traditional South Asian Muslim garments. They all converse in Urdu. The town’s charming ambiance contrasts sharply with the encroaching industrialization and mass production of war machinery.

The narrative largely takes place in flashbacks of Vincent Oliver’s (Taimoor “Mooroo” Salahuddin) childhood, but it starts with the older Vincent reading letters from his long-distance lover and schoolmate, Alliz (Mariam Riaz Paracha). As an adult, Vincent runs the glassblowing workshop and storefront that his father, the serious yet compassionate Tomas (Khaled Anam), oversees. However, it was during his teenage apprenticeship (portrayed by Mahum Moazzam in flashback sequences) that Vincent first met Alliz (still voiced by Paracha), who had recently moved to their town due to her father, the military leader Col. Amano (Ameed Riaz), being deployed there to prepare for an imminent conflict against an unseen enemy.

As a film enthusiast, I found “The Glassblower” fascinating for its intricate blend of various cultures in the fantastical city of Watertown, where airships dominate the skies. Yet, the political nuances remain veiled, a deliberate choice perhaps to portray the story from a child’s perspective. This approach gives the film a distinct Studio Ghibli feel.

Glass plays a crucial role in crafting the weapons for this ongoing conflict, a fact that may be especially significant to Vincent given his profession as a glassworker. This significance leads Colonel Amano to approach Tomas, a man shunned for his pacifistic stance during war times, for help. Riaz skillfully portrays Tomas’ predicament, elevating it into a pivotal, grand occurrence witnessed by Vincent, and marking the start of many distressing incidents that have a profound impact on the young boy’s spirit.

The movie includes a mystical side plot about Djinn, mythical entities from Islamic lore, which although not physically present, are subtly hinted at through Carmine Di Florio’s sparkling music score and seem to bend light towards Vincent. This may not be the most coherent plot development, but it effectively shapes Vincent’s character as the story demands, albeit in a clumsy yet captivating manner, leading to unexpected results.

In the end, Vincent’s inherent peacefulness is overshadowed by the fact that he exists within a realm of perpetual conflict. Over time, this harsh reality causes him to grow increasingly bitter. The animators skillfully portray this transformation through intricate details, such as deepening lines beneath his eyes. The remarkable attention to character development enables a more contemplative grieving process for the viewer, encompassing the tragic loss of innocence and potential growth that war often brings. Remarkably, even Vincent’s childhood adversary finds a surprisingly significant role in this narrative.

The Glassworker” is known for its slow, deliberate pace, but this methodically builds up to intense and emotional scenes where both protagonists and antagonists show unexpected layers. Although it doesn’t push the boundaries of animation as a whole (even though it stands out in Pakistan), it pays a heartfelt tribute to an animation legend by accurately capturing the essence of his work.

2024-11-27 22:17

‘The Glassworker’ Review: Pakistan’s First Hand-drawn Feature Feels Like an Homage to Miyazaki

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