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The Wire
4 days ago
- Entertainment
- The Wire
One City, Two Tales: Tokyo Through Studio Ghibli's Lens
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories One City, Two Tales: Tokyo Through Studio Ghibli's Lens Priya Singh 42 minutes ago The dual representation of Tokyo in 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991) serves not only as a narrative choice but also as a reflection of the city's complex identity. Posters for 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991). Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now From Metropolis (1927) to Taxi Driver (1976) and Salaam Bombay! (1988) to Gully Boy (2019), cities on screen have long fascinated us – mirroring, distorting and reimagining urban life. Scholars such as Raymond Williams and David B. Clarke have shown how literature and film shape our understanding of cities, often revealing the tension between community and alienation, modernity and nostalgia. Thinkers like Marcus Doel and Henri Lefebvre remind us that cities are not just concrete and commerce. They are lived, felt and socially constructed. Few cities have inspired this dual gaze in films more than Tokyo. In Studio Ghibli's Whisper of the Heart (1995) and Only Yesterday (1991), Tokyo becomes a character in its own right; it can be both grounding and disorienting, echoing George Simmel's vision of the urban space as a site of both creativity and quiet estrangement. Studio Ghibli, founded in 1985 by Hayao Miyazaki, Isao Takahata and Toshio Suzuki, has become synonymous with animation excellence. Their movies have critiqued Japan's rapid urban growth, showcasing the delicate harmony between human development and nature's grandure. In an era of AI-generated imitation, the Studio's artistry, once quietly revered, now stands at the centre of a broader conversation about what makes art truly human. Yoshifumi Kondō's Whisper of the Heart presents Tokyo as a place of inspiration and dreams. It follows 14-year-old Shizuku as she wanders through the bustling city with a sense of wonder, finding creative inspiration in its vibrant neighbourhoods and the people she meets. Her journey through Tokyo's suburban landscapes, antique shops and libraries highlights the city's potential to nurture creativity and personal growth. A still from 'Whisper of the Heart'. The film uses a warm and bright colour palette for the city – yellows, oranges, reds and greens – that reflects the characters' mood and emotions, along with the seasons and time of day. The detailed animation brings Tokyo's streets and homes to life. The film's music, including its use of 'Country Roads', is upbeat and melodic, reflecting Shizuku's youthful enthusiasm and the lively city atmosphere. The animation is detailed and realistic, with smooth movements, expressive faces and intricate backgrounds. Background characters are never still; they actively engage with their surroundings, making the city a living, breathing part of the story. The style is influenced by manga and the works of Miyazaki, who wrote the screenplay and oversaw the film's production. Around 70% of the film follows Shizuku's everyday life and adventures in Tokyo, allowing the city itself to take centre stage. In contrast, Isao Takahata's Only Yesterday takes a more introspective approach and explores themes of alienation and nostalgia. The film follows Taeko, a 27-year-old office worker, who reflects on her childhood in Tokyo and her current life, feeling disconnected from the city's relentless pace and modernity. The film juxtaposes her desire for a simpler, more rural life with her present-day experiences in Tokyo, highlighting the emotional and psychological distance she feels. The film's animation and realistic portrayal of Tokyo's urban environment bring out her sense of disconnection and longing for a simpler life. The film employs a cold, dark colour palette with shades of blue, grey, black and white to reflect the monotony and gloom of the city, as well as the nostalgia and regret of the protagonist. Taeko's daily commute and office scenes illustrate the repetitive rhythm and routine of adult life in Tokyo. The use of muted and earthy tones for the city captures Taeko's introspective and occasionally melancholic state of mind. The soundtrack is soft and reflective, enhancing the film's contemplative atmosphere and tracing Taeko's emotional journey. A still from 'Only Yesterday'. The animation style is simple and stylised, characterised by minimal, sometimes rough movements, understated facial expressions, and sketch-like backgrounds. This approach is influenced by the watercolour paintings of the original manga, as well as the works of Takahata, who directed and wrote the film. Unlike Whisper of the Heart, the city occupies a small portion of the film, about 15%, as the story alternates between Taeko's life in Tokyo and in Yamagata, the rural neighbourhood she moves to. The dual representation of Tokyo in these films serves not only as a narrative choice but also as a reflection of the city's complex identity. Like many global cities, Tokyo is a place of contrasts where tradition meets modernity and where dreams can be both realised and shattered. This duality is a common theme in urban studies, which regard cities as sites of both opportunity and alienation. Furthermore, the difference in the protagonists' ages influences their interactions with and perceptions of the city. While Shizuku's youthful perspective adds a sense of excitement and discovery to her experiences in Tokyo, Taeko's adult viewpoint is more reflective and critical. By examining these two films, we can gain insights into how Tokyo's multifaceted nature is portrayed through different lenses. Whisper of the Heart and Only Yesterday show us that cities are not monolithic; they are experienced differently by each individual. They are shaped by who we are, what we remember, and what we hope to become. These films help us think more deeply about what it means to live in a city, touching on themes of identity, belonging and the pace of urban change. Together, the two films offer two distinct yet complementary views of Tokyo: one full of possibility, the other tinged with longing. Through their contrasting tones and visual styles, they capture how the same city can feel radically different depending on who is looking and when. It is this quiet attention to emotional texture that makes Studio Ghibli's vision of urban life so resonant and so deeply human. Priya Singh is a researcher at the Indian Institute for Human Settlements, Bengaluru, working on higher education access, qualitative research ethics and cultural representation through both fieldwork and film. Make a contribution to Independent Journalism Related News Banu Mushtaq's Importance Goes Much Beyond the Booker The Politics of 'Heart Lamp' Is Profound, Urgent and Reflects the Lived Reality of Millions Why Banu Mushtaq and Deepa Bhasthi's International Booker Is a Seminal Moment Humour, Scepticism and the Realities of the Familial in Banu Mushtaq's 'Heart Lamp' Ngũgĩ wa Thiong'o: The Kenyan Icon Who Wrote For Freedom Till the Very End Most Indians Can't Even Afford Entry-Level Cars. 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Indian Express
20-05-2025
- Entertainment
- Indian Express
‘Goli' Daya Shankar Pandey called Aamir Khan ‘in a fit of rage' for not casting him in Lagaan: ‘My wife was pregnant and…'
Director Ashutosh Gowariker's Lagaan is a landmark film, not just for the members of its cast and crew, but in the larger landscape of Indian cinema itself. Only the third – and as of 2025, the last – Indian film to clinch a nomination for the Academy Award for Best International Feature Film after Mother India (1957) and Salaam Bombay! (1988), the period musical sports drama gave many of its actors, who were awaiting a big break, immense recognition. For actor Daya Shankar Pandey, too, playing the role of Goli in Lagaan proved life-changing, with a slew of opportunities coming his way since then. However, Daya was cast in the role only four days before the commencement of the movie's shooting. In fact, he recently revealed that he even lashed out at Aamir Khan over the phone for not offering him a role. At that time, his wife was pregnant and Daya badly needed a job to make ends meet. Interestingly, Daya had previously worked with Ashutosh Gowariker in both his initial directorial ventures, Pehla Nasha (1993) and Baazi (1995), among which the latter also featured Aamir in the lead. Also Read | Akshay Kumar sues Paresh Rawal for Rs 25 crore over 'gross unprofessional conduct' after his midway exit from Hera Pheri 3: report 'I knew Aamir ji beforehand, and by then I had already done two films with Ashutosh Gowariker ji, whom I consider my friend too,' he said during a chat with Friday Talkies. Daya added, 'My casting happened only four days before the film's shoot began. Although I wasn't associated with the project initially, I knew that the movie was set in a village in the countryside in the north. Hence, there was also a sense of anger coming deep from within me. In a fit of rage, I called producer Aamir Khan saab and said, 'This film is based on villagers. And if I am not cast even in such a movie, who else is going to cast me? Will directors like Yash Chopra ji and Karan Johar ji, who make movies set against the backdrop of places like Switzerland, rope me in? You say I am a very good actor; then why are you not casting me?' Hearing all this, he started laughing a lot and kept all this in his mind.' Mentioning that he was facing significant financial difficulties at that time, particularly since his wife was pregnant, Daya noted, 'I had no job then and was in a perpetual state of tension. One day, I was having dinner, and the landline phone rang. I even remember the exact date and time: December 26, 1999. When I picked up the phone, it was Aamir Khan on the other end. He asked me what I was doing these days, and I replied that I was working on one or two movies along with a few TV shows. He asked, 'Will you do Lagaan?' I immediately said yes. He told me to come to his office the next day and meet Reena ji (Aamir's then-wife, Reena Dutta). Mentioning that he had a good role for me, Aamir also informed me that the schedule would be at least 4-5 months long. I kept agreeing to whatever he said.' Recalling his meeting with Reena Dutta the following day, Daya remembered making a request to her during their discussions. He told her, 'My wife is pregnant, and the entire household runs on the money I make. So, I might need some financial help in between.' To his surprise, Reena immediately asked Daya to give her phone number to his wife and tell her to contact her if any need arose. Furthermore, Aamir Khan Productions gave him a generous paycheck right at the beginning. 'The signing amount she gave me was so huge that the expenses for one month could easily be met with that. Reena ji then informed me that I, however, won't have a makeup man or a boy (an assistant). I laughed a little, considering I don't have such helpers even today. Interestingly, I was the only actor who didn't do a workshop for Lagaan. Later, I found out that they had even kept a return ticket ready for me. If that first scene did not work out the way they envisioned, I would have been sent back quietly. But things worked out,' he added.
Hindustan Times
29-04-2025
- Entertainment
- Hindustan Times
Babil Khan posts sweet childhood pic with dad Irrfan Khan on his 5th death anniversary; pens heartfelt poem
Bollywood actor Irrfan Khan left a void behind when he died five years ago on April 29. His son, actor Babil Khan, wrote a heartfelt poem and posted a sweet childhood picture on Instagram in memory of his father. Here's what he wrote. (Also Read: Babil opens up about being accused of exploiting Irrfan Khan's death to advance career: 'If that was the case...') Babil posted a picture that showed Irrfan all smiles as Babil leaned on his shoulder and posed for a picture. Dressed in T-shirts and wearing sunglasses, Babil and Irrfan hold hands as they look into the camera. The caption for the post reads, 'With you, without you. Life goes on, With me, without me. Soon I'll be there. With you, not without you. And we will run together, and fly, Drink from waterfalls, pink not blue. I will hug you so tight, and I will cry, Then we'll laugh, just like we used to. I miss you.' A post shared by Babil (@babil.i.k) Fans left supportive comments under the post, with many leaving heart emojis for Babil. 'We miss him just like our own,' wrote one fan, while another commented, 'Unforgettable legend.' One fan commented, 'The angel :))) we miss him so much.... love u babil :)) ASLI.' Many commenters also remembered the legend Irrfan was, with one of them writing, 'Irfan forever ….. still not accepted he will continue to live in our hearts.' Another fan wrote, 'We miss him too.' Some others called the childhood picture 'cute'. Irrfan debuted with the 1988 film Salaam Bombay! and acted in films like Maqbool, The Namesake, Life in a... Metro, Slumdog Millionaire, Life of Pi, The Lunchbox and Piku through his career. He acted in numerous Hindi and English films, apart from a few regional ones. His last films were the 2020 film Angrezi Medium and the 2021 film Murder at Teesri Manzil 302, which was released posthumously. In 2018, Irrfan announced on Twitter that he was diagnosed with neuroendocrine cancer. After receiving treatment in the UK, he returned to India in 2019. Four days after his mother, Saeeda Begum, died in Jaipur, Irrfan died on April 29 while receiving treatment for a colon infection. One of his sons, Babil, followed in his father's footsteps and became an actor, debuting with the 2022 film Qala. He was most recently seen in Logout.
