A couple of days ago, the delightful @PulpLibrarian made an insightful little observation on Twitter while celebrating Space: 1999. “Harshing on Space:1999 for not being hard sci-fi misses the point: the show is about space being weird and frightening, not about physics and engineering.” And I thought that was particularly interesting because we were coming up on watching another Galaxy Express movie, and this isn’t a world of science fiction, despite the spaceships and laser guns and robot men, it’s a world of allegory and poetry and hero’s journeys and maturity. It’s a strange and occasionally really weird world because it’s so on the nose, but that’s the point of the way this narrative is told: all the ray guns are distractions and fantasies, this is specifically about a boy growing up.
So Adieu Galaxy Express is an arguably unnecessary sequel, told at emphatically unnecessary length. Marie, who really has better things to do than watch boys grow into men in cartoon movies, shook her head from exhaustion and said they could have told this story in half the time. She’s right. There are some things I like and admire about this one, but considering how much more entertaining the original one was, they could have sped this along. There’s a lot to look at in its 130 minutes, and some of the animation is extremely good, but it’s very, very slow.
So how on the nose is this one? It’s so on the nose that Testuro has to kill his father, who is also the devil and is named Faust, before he can grow up. The movie starts with four unimportant side characters sacrificing themselves so that Tetsuro can have his journey, because they know that they are the supporting cast and we’re watching to see the kid. Maetel is back, answering as many questions as a cloud might, refusing to address the rumors that she is now the ruler of a galactic empire of machine people who use humans as soylent green energy capsules. Maetel and Emeraldas share a moment on the platform at the end acknowledging that they’ll never see Tetsuro again but their own journeys never end, even as Tetsuro’s does. After all, somebody else’s story is going to need a mother figure and a mysterious femme fatale.
I like the way the story completely subverts expectations with Harlock and Emeraldas. They each get a very quick little “save the day” moment cameo to remind viewers that this series can use them, and then they’re gone again, completely cut off from the story until they’re needed in the end to help blow stuff up. Unfortunately, our son also has better things to do than watch boys grow into men in cartoon movies, and only really paid attention when Harlock and Emeraldas were blowing stuff up.
His only real spoken complaint about the film was an odd one: there’s a trippy and psychedelic bit where the animators smoked all the grass they could find as they visualized the arrival on the planet Great Andromeda, and the kid grumbled “This is making my eyes hurt.” Otherwise, he was very restless and squirmed quite a lot. There are fights and shootouts, but there’s also no sense of danger or fear, and nothing to really engage him. So this was a big disappointment for two-thirds of this morning’s audience, but even though it’s not as good as the first one, I still like it a little.