It’s a monumental endeavor to channel Hayao Miyazaki, the Japanese animation legend who created “The Boy and the Heron” and other works. However, the Pakistani production “The Glassworker” goes beyond simply imitating Miyazaki’s particular style. It captures the anti-war sentiment in most of his, and Studio Ghibli’s, works, including “Grave of the Fireflies” by Isao Takahata. This results in a film that, like many Ghibli works, seems both familiar and contemporary. To know more about the reviews on “The Glassworker”, continue reading.
A unique Directorial Debut
Usman Riaz’s directorial debut, “The Glassworker”, is Pakistan’s first hand-drawn film. Mano Animation Studios made it, with Ghibli producer Geoffrey Wexler as a mentor. Miyazaki’s sensibility pervades the film, beginning with its setting. Waterfront is a vibrant early-twentieth-century town. It was inspired by a mix of European and Asian (specifically, Pakistani) styles. Its buildings are in the Dutch Renaissance style. Its characters, who are ethnically varied, wear Western and South Asian Muslim attire. They all speak Urdu. Also, the town’s quaint coziness contrasts with the rise of industrialism and the mass production of weapons.
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Review of “The Glassworker”
The plot is mostly told through childhood flashbacks. It begins with young adult Vincent Oliver (Taimoor “Mooroo” Salahuddin). He receives letters from his first love, Alliz (Mariam Riaz Paracha), a former schoolmate. Vincent now runs his father’s glassblowing studio and shop. The stern but diligent Tomas (Khaled Anam) manages it. Vincent was only a teenage apprentice when he first saw the younger Alliz. (He was voiced by Mahum Moazzam in a flashback.) She had moved to their town when her father, Col. Amano (Ameed Riaz), was posted there to manage a war against an unseen enemy.
The political elements of “The Glassworker” are mostly unclear. Watertown is a fantasy mix of cultures in a blimp-dominated world. Also, the fight is seen through the eyes of children. This is the most Ghibli-esque part of the picture. Yet, simplicity helps convey the film’s message. As its tale of innocent love grows, “The Glassworker” avoids geopolitical details and metaphors. This is done in favor of an intimate look at how conflict affects the soul.
Glass is critical to making weapons in this fight. Or, that’s how Vincent recalls it, as glassworking is his world. So, Col. Amano sought Tomas’ help. The artisan was nearly exiled for being a pacifist during the war. Riaz expertly depicts Tomas’ plight through Vincent’s eyes. It becomes a defining, larger-than-life experience. It is the first of many ugly moments that weigh on the little boy’s emotions.
The film also has a mysterious plot. It features Djinn, otherworldly beings from Islamic myth. Though unseen, they are marked by Carmine Di Florio’s glittering soundtrack. They reflect and refract light in Vincent’s direction, possibly affecting him. It’s not the best throughline. But, it quickly shapes the evolving Vincent to the story’s whims. It’s an inelegant journey with astonishing results.
A Promising Production
Despite his later pacifism, a war-torn world makes Vincent bitter. The animators show this change through small details. For example, his wrinkles grow beneath his eyes. The detailed character work invites a deeper mourning for all lost in war. It mourns, too, for lost innocence and the chance to improve oneself. (Vincent’s childhood bully plays a surprising role.)
“The Glassworker” moves slowly. But, it builds to powerful, emotional moments. In them, both its “protagonists” and “anti-heroes” show surprising depth. It is a landmark for Pakistan, though not for animation. It is a tribute to an industry veteran. He captures the essence of his films.
