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One might assume that the legendary Japanese anime director, Hayao Miyazaki, who is 82 years old, has completed his final film. However, after the realism of his 2013 work, The Wind Rises, which explored the industrial era of pre-World War II Japan for inspiration, Miyazaki returns to his signature fantasy style in his latest film, The Boy and the Heron. It’s difficult not to see Miyazaki’s character of the Great-Uncle, searching for a successor to protect a world filled with man-eating parakeets and flying dim sum, as a reflection of his own imminent retirement; a symbolic breaking of his creative staff. But then you remember: this is the fourth time he has announced his retirement.
In his later years, Miyazaki is not the only one who has been drawn back to work for “one last job”. At 86 years old, Ridley Scott has not only created a film about Napoleon Bonaparte, but he also managed to stir up controversy during his press tour in France. This is his ninth film since 2010, which is an impressive late-career burst of activity, with the addition of Gladiator 2 next year. Martin Scorsese, at age 81, just released Killers of the Flower Moon, a startling reimagining of his signature gangster films. At 93 years old, Clint Eastwood continues to work tirelessly and be a role model for hardworking Americans, currently filming his 40th directorial project, Juror No 2. The only thing that seemed to halt Woody Allen’s annual film releases (since 1982) was a global pandemic, with the exception of one break in 2018. Not bad for an 88-year-old. Similarly, at 90 years old, Roman Polanski continues to defy both age and controversy to pursue his craft.
Despite the challenges of aging, many directors continue to persevere and defy expectations in their demanding job. It’s remarkable to see how energetic and resilient some directors are, but it takes a combination of good genetics and determination to sustain this level of activity well into their 70s and even beyond 106 years old, as Portuguese director Manoel de Oliveira was reportedly doing before his passing. While people are staying more active in their later years, there are still limits to what can be physically and mentally achieved. At 87 years old, director Ken Loach indicated that he may be stepping back from directing, acknowledging the decline of his abilities such as short-term memory and eyesight.
Another approach suggests that just because you have the ability to do something, it doesn’t necessarily mean you should. Quentin Tarantino, well-known for his films, announced his plan to stop directing after making 10 movies in order to avoid tarnishing his career with lackluster late-career projects. In 2012, he stated, “I do believe that making one of those out-of-touch, old, weak, and unimpressive movies results in a loss of three good movies in terms of your reputation.”
Many directors retire before they turn 70 due to changes in the film industry and audience preferences. Only a select few, like Tarantino, have the opportunity to shape their own legacy, although the ultimate judgment of their work still lies with others. Allen may seem unambitious in his approach to filmmaking in his older years, but at least he has a practical outlook on being remembered. When asked about his legacy in 2015, he stated that he doesn’t really care and that it wouldn’t matter to him if his films were forgotten, except for the financial benefit it would bring to his children. He compared this to standing at Shakespeare’s grave and praising him, but ultimately realizing that it holds no significance as he is no longer alive.
Eastwood shares a similar perspective on continuing to direct in his 90s, simply stating “I just enjoy it.” However, his recent work shows a greater involvement with the world compared to that of Allen’s, as seen in films such as American Sniper and The 15:17 to Paris which explore the concept of modern heroism. He has been praised for consistently completing his projects within budget and on time, showcasing a “late style” characterized by a minimalist classicism. At this point in his life, there is no reason to waste time. Scorsese, who was once known for his flashy style, has also addressed this shift: “Do I need to prove that I can execute a visually stunning camera movement? Like in Goodfellas? Well, I already did it. Do it again? Hm, no. It’s not worth it. Because it was perfect for that moment.”
The excitement of this group of older individuals extending their careers lies in the potential for their art to become bolder and more daring, much like David Bowie’s final album, Blackstar. In The Irishman, Scorsese directly confronted mortality and condemned the glorification of gangster culture. However, Killers of the Flower Moon takes a more bold approach in its exploration of the roots of violence and exploitation, and acknowledges that even the perpetrators may not fully understand their actions in the end. Additionally, the director’s own role as the radio announcer recounting the Osage murders suggests that even the narrator can be involved in the wrongdoing.
Scott has also displayed a tendency for revising history as he nears the end. In many ways, Napoleon is similar to 2021’s The Last Duel, challenging traditional narratives of male dominance and violence by (quite insistently) pointing out that Napoleon was merely a pawn in Josephine’s game. With its exaggerated drama, the film portrays significant historical events as a comedic domestic affair, reminiscent of Scott’s previous work House of Gucci. By bluntly criticizing the official version, isn’t Scott also deflating the self-importance and arrogance of all storytelling, including his own? Encouraging everyone – even historians who claim to have a monopoly on truth – to drop their pretenses.
Perhaps Scott, the former advertising executive who was often criticized for being solely focused on visuals, has become more introspective and honest in his later years about the role of artists and the human drive to create, particularly in the face of mortality. The film Prometheus was so preoccupied with these themes that it neglected to tell a typical Alien story. Through the character of Weyland, a technocrat fixated on meeting his “maker” and father figure to the android David, Scott explores the egotism and potential for megalomania that can accompany creative endeavors. Michael Fassbender’s portrayal of David, who despises his creator and is determined to perfect his own life form, is a chilling representation of the artist.
Unfortunately, due to the disappointing returns of Alien: Covenant, we may not have the opportunity to witness the completion of this modern-day Lucifer tale in our 21st-century blockbuster. However, in the hands of Miyazaki, the artist remains idealistic and leads us through his own imaginary worlds. Yet, as seen in The Boy and the Heron, there comes a time to step down and let go of control. In reality, the temptation to hold on never truly fades. A Studio Ghibli executive recently shared that Miyazaki has been visiting the office to brainstorm ideas for a new film. While he may have retired, there is still a glimmer of creativity within him.
Source: theguardian.com
