Galaxy Express 999 (1979) / Adieu, Galaxy Express 999: Final Stop Andromeda (1981)

Ginga Tetsudô Surî-Nain / Sayônara, Ginga Tetsudô Surî-Nain: Andromeda Shûchakueki

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Director: Rintaro
Screenwriters: Kon Ichikawa, Shirô Ishimori; Hiroyasu Yamaura

By Roderick Heath

Leiji Matsumoto isn’t a household name outside of Japan except to fans of manga and anime, Japan’s beloved, specific styles in cartooning and animation. But for anyone who does love those art forms, he’s been one of pop culture’s most vital figures, and even those who don’t might still have felt his influence in their childhood TV watching and their contemporary moviegoing. Matsumoto, born in Fukuoka in 1938, helped spark a popular sci-fi boom and a revival of the romantic early style in the genre called space opera, a few years before Star Wars (1977) officially did the same thing in the west. Matsumoto’s love of the space opera mode took some time to gain traction in his early career, and he gained his breakthrough with Otoko Oidon, a manga about a young man struggling to get into college. That project might seem light years away from Matsumoto’s later repute for fantastical dreamings, but rooted all his work in authentic reflections on rites of passage for boys struggling to achieve manhood and define what that means. Matsumoto’s success was sealed when he was hired to develop a concept by a producer for a tale about space travellers on a desperate mission to save the Earth from alien assault. Matsumoto’s take saw a wrecked World War II battleship rebuilt as a spaceship, a bizarre notion that nonetheless proved the key to the idea’s success. A TV adaptation of Matsumoto’s manga, Space Battleship Yamato, or Star Blazers as it was called for its first English-language dub, became a perennial touchstone for anime.
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Space Battleship Yamato defined Matsumoto’s unique touch, his fascination for combining the super-futuristic with the bygone and antiquated, a sense of possibility and longing at once childlike and sophisticated, and vigorous, spectacular action colliding with dreamy lyricism. Matsumoto soon began producing a clutch of beloved characters who evolved to share a fictional universe in his manga and various adaptations for television and cinema, including Galaxy Express 999 and Space Pirate Captain Harlock, making him one of the first artists of his kind to really embrace what is now called intertextuality. The French electronica outfit Daft Punk so idolised Matsumoto they talked him into directing Interstella 5555 (2003), a feature-length tale woven around the music from their album Discovery. Matsumoto’s style transposed a very personal and localised sensibility onto happily harvested concepts and tropes from a global tradition in sci-fi and fantasy. Growing up in the midst of war and resulting devastation profoundly impacted upon his creative attitude, and his beloved franchises gained much of their power from an informing anxiety about the tragedies of defeat and loss and the irreparable state of lost innocence and youth. Galaxy Express 999 was first made into a popular TV series and then adapted into a film version by Rintaro, one of the storied hands of anime who had first gained repute working on morning children’s programming perennials Astro Boy and Kimba the White Lion series in the 1960s, adaptations of another legend of manga and anime, Osamu Tezuka.
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Rintaro (born Shigeyuki Hayashi) became chief director on the TV version of Matsumoto’s Space Pirate Captain Harlock, and went on to helm many successful anime series and films including a chapter in the acclaimed Neo-Tokyo (1987) and Metropolis (2001). Rintaro worked with Matsumoto, who was credited as planner on the film and, most interestingly, the director Kon Ichikawa, maker of such classics as The Burmese Harp (1956) and Fires on the Plain (1959). Ichikawa had started his career in animation and began dipping his toe back into the field in the ‘70s, and served here as supervisor and co-screenwriter with Shirô Ishimori. Ichikawa’s gift at adaptation and feel for mediating a poetic lustre meshed with Matsumoto’s vision and Rintaro’s visual skill. Galaxy Express 999 revolves around a similar motif to Space Battleship Yamato, a spaceship voyaging through the void built to resemble a far less sophisticated piece of technology, in this case a steam train, in a storyline replete with picaresque discursions but always arcing towards an ultimate confrontation with a formidable foe. But the martial valour and warlike spectacle of the other series were swapped out here in favour of images and ideas more redolent of westerns, and an overall aesthetic that pushed Matsumoto’s romantic and sentimental streaks to the fore.
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Matsumoto’s sci-fi style had a host of readily recognisable inspirations, including the Victoriana dreaming of Jules Verne and H.G. Wells and space opera of E.E. ‘Doc’ Smith and Alex Raymond, but he also drew on more specifically Japanese properties, particularly the novel Night on the Galactic Railroad by Kenji Miyazawa. There’s a strong similarity in sensibility, too, to works like the poet Hagiwara Sakutarô’s poem “Night Train,” and the opening chapter of novelist Yasunari Kawabata’s Snow Country, where the act of travelling by train takes on near-spiritual dimensions, being dissolving into a near-ethereal state of communion. From Sakutarô:

Near daybreak in the dark
Fingerprints chill on the window
Like a soft spill of mercury
White glimmer on the mountains
Passengers hang between sleep and waking
Over them the light-bulbs
sigh with fatigue
(…)
Unexpectedly
we draw close in sadness
and gazing at the eastern clouds
watch light touch
a nameless village in the mountains

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Galaxy Express 999 unfolds in a future where humankind has achieved tremendous technological leaps to colonise many nearby planets and travel to distant galaxies. But a new force is taking hold and redefining existence, as an increasing number of people are travelling on the famous Galaxy Express 999 transport to its distant, scarcely-seen final stop to swap their frail mortal shells for cybernetic bodies, and conflict between the finite and the virtually immortal seems to be nascent. Young Tetsurô Hoshino (voiced by Masako Nozawa) is an orphan living a hardscrabble existence on the streets of an Earth city called Megalopolis. Tetsuro harbours relentless ambition to get off the Earth again and track down the nefarious robotic overlord Count Mecha (Hidekatsu Shibata), who murdered his mother for sport when they accidentally strayed into his hunting grounds whilst traversing a distant colonial planet. Idolising the outlaws of space whose faces he sees on posters, including Captain Harlock and his fellow pirate Emereldas, Tetsuro wants to obtain a robotic body of his own so he can stand a chance in battle with the Count. He tries to steal a pass for the Galaxy Express from a passenger at a ticketing office, bringing down the wrath of law enforcement.
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Tetsuro glimpses a mysterious woman who strongly resembles his mother during his escape, and she helps him evade the cops and hide in her apartment. Tetsuro is startled by the woman’s resemblance to his dead mother, and the woman, whose name is Maetel (Masako Ikeda), agrees to help him achieve his goals. She buys a ticket for Tetsuro and becomes his travelling companion as the Express blasts off into space. The inherently dreamlike conceit of an intergalactic craft that looks like a rattling old steam train is mediated through some expertly deployed technobabble as the engine, actually an incredible, self-aware piece of engineering, sustains all within an “anti-energy infinite-source electro-magnetic barrier.” More importantly, as Maetel explains to her young charge, it’s an aesthetic choice that means the same thing to its passengers as to the movie viewer: it’s designed to foster a sense of nostalgic delight to offset the intensely alienating sensation of travelling deep space and encountering a vast and teeming cosmos.
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Tetsuro gets to know the train’s crew, including its assiduous Conductor (Kaneta Kimotsuki), a squat, glowing-eyed entity in an official uniform, and the attendant Claire (Yôko Asagami), a robotised girl whose body is made of transparent crystal. The Express stays for the length of one day on each planet it lands on, which can be, in Earth time, a couple of hours or a couple of weeks. When it lands on Titan, which has been colonised and terraformed into a lush and rustic backwater, Maetel is kidnapped by some bandits headed by the bristling old warrior Antares (Yasuo Hisamatsu), who is dedicated to battling off the encroachment of the robots and raises a gang of children, all orphans made by Count Mecha. Ignoring Maetel’s pleas for him not to risk himself by chasing her, Tetsuro tracks down the bandits, who test both him and Maetel with x-rays to see if either is a robot; surprisingly, Maetel proves to be entirely human. Tetsuro encounters an old woman (Miyoko Asô) living alone in a cabin, and she finds him so similar to her long-lost son Tochirô in his fighting spirit that she gives him two of her valued possessions: a battered-looking hat, and a laser pistol, the only one of its kind capable of killing robots.
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The movie narrative reproduces the episodic storyline inherited from the manga and TV series, as the Express moves from planet to planet. The filmmakers turn this to their advantage, as each new world reflects as aspect of Tetsuro’s psychological journey as well as his external quest, whilst also suggesting encapsulations of different epochs in recent history. The crude arcadian beauty of Titan blesses Tetsuro with a grandmotherly figure and allows him to step into the shoes of the missing Tochirô to gain a more specific identity, and accumulates the garb and convictions of a mature being. When he and Maetel next disembark on Pluto, which is used as a giant refrigeration unit to keep the discarded mortal shells of the robotised humans, Tetsuro encounters Shadow (Toshiko Fujita), a robotised woman who fills the job of caretaker for the ice cemetery to be close to her own human body, a beautiful corpse she keeps in a glass coffin to pine for and worship. Desperate for human contact, she tries to claim an unwilling Tetsuro as her child, but Maetel fends her off. Maetel herself seems fascinated by something in the ice which Tetsuro doesn’t get to see. Here lurks the threat of frigid emotional stasis and a frightening surrogate mother figure who provides a distorting mirror to Maetel in the role.
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The gritty frontier atmosphere of Trader’s Fork reproduces a western feel and exploits that genre’s suppressed evocation of rootless melancholy to convey Tetsuro’s alienation as he encounters other characters, like the sad chanteuse Ryuzu (Noriko Ohara) and the real Tochirô (Kei Tomiyama), who share his state of exile and longing. Tetsuro gains a peculiar family in the form of ambiguous but devoted Maetel and the train’s crew of oddballs, and fearsome friends and comrades in the form of Harlock (Makio Inoue) and Emereldas (Reiko Tajima), who both intercept the Express and find their fates linked to Tetsuro’s. Antares has told Tetsuro that only Emereldas knows where Count Mecha’s wandering Time Castle can be found at any time, so when her spaceship flies by the Express Tetsuro brings it to a halt with a blast from his pistol and soon finds himself confronting the fearsome female pirate, who proves, despite all to be defined once more by a pining absence, longing for a lost lover who proves to be the sickly, dying Tochirô. Tetsuro finds Tochirô in the wastes of Trader’s Fork and helps him achieve his dying ambition, uploading his consciousness into a computer system so he can serve as the navigation system for his comrade Harlock’s space ship. Harlock turns up shortly after to thank Tetsuro for giving his friend’s mortal remains a burial, and repays the favour by beating up some of Count Mecha’s goons who have attacked Tetsuro.
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Tetsuro is the hero of Galaxy Express 999, but it’s Maetel who is its most obsessive locus of images and pivotal figure, and the ultimate example of Matsumoto’s obsessive figure of femininity. Her iconography is exact, with her cascading mane of blonde hair and huge, long, limpid eyes, and all-black garb of fur coat and cap, resembling some fey-gifted young Russian Countess riding the Trans-Siberian circa 1900, the centrepiece of the film’s uniquely Proustian take on sci-fi adventure. She’s dogged by an air of inexplicable melancholia, her mystique in seeming both infinitely enigmatic and yet deeply familiar embodying a half-forgotten ideal from childhood. Willowy and fragile-looking, she nonetheless constantly proves more powerful than she seems. She’s at war with her own identity in profound and disturbing ways, as it’s revealed she’s the daughter of Queen Promethium (Ryôko Kinomiya), the terrifying, witch-like mastermind and controller of the robot horde. A weirdly dichotomous charge wells up when Tetsuro accidentally walks in upon her in the shower, and Maetel comes to occupy a perverse Freudian nexus as, alternatively an echo of Tetsuro’s mother, avatar for a worldly big sister, and a dream of first love.
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This aspect makes Galaxy Express 999 feel crucially similar to Jaromil Jires’ Valerie and Her Week of Wonders (1970) in contending with the intensely protean experience of adolescence where the roles of life and the people who fill them blur into commonality. In the series Tetsuro was small, naïve boy, where in the film he’s on the cusp of adolescence. It’s ultimately revealed that Maetel is actually inhabiting a cloned reproduction of Tetsuro’s mother’s body, which doubles down on the perversity. The other female characters – the wretched Shadow, haunted Ryuzu, sweetly transparent (literally) Claire, brooding, powerful Emereldas – all resemble her (aptly, in one of his revisits to his creation, Matsumoto revealed Maetel and Emereldas are twin sisters). This is certainly partly because of Matsumoto’s famous basic template for his romantic heroines, but it also makes perfect sense given they can all be seen as reflections or distillations of the essence of a cosmic feminine Tetsuro chases across the void but can never quite take a proper grip of as he matures. Tetsuro’s physique sharply contrasts his partner’s, a short urchin with a round face and squiggle of a nose, he almost becomes lost to the eye once he dons his complete signature costume, with overcoat and hat reminiscent of Clint Eastwood’s in his Sergio Leone westerns.
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Tetsuro himself has many doppelgangers and brothers in spirit, from Harlock, who stands as an idealised version of the man he’d like to be, Tetsuro, whose boots he steps into, and Antares, the grizzled old warrior who’s taken on duty of care to a host of waifs with the same tragic story. The theme of life journey conjoins with Matsumoto’s anxious confrontation with the forces of modern transformation, which had gone through a breakneck process in his youth: the Galaxy Express itself belongs to an evocation of a pre-war world and dreams of gilt splendour as glimpsed in the retro classiness of the great railway station Tetsuro and Maetel pass through, even in the surrounds of the glittering superstructure of Megalopolis. The new and the old are in constant dialogue throughout, both in terms of physical entities and the gap between action and remembering. Tetsuro’s desperate desire to grow up and take on the evils in his universe is constantly retarded by a growing awareness of the ephemeral nature of his life. Maetel carries a device that allows one person to tap into the dreams of another, a sublime metaphor for the act of creating and sharing art itself, and also a vessel for mutual comprehension, or lack of it, for the characters: Tetsuro’s maturation is measured in part by his choice not to tap into Maetel’s dreams, for all his desire to parse her foreboding opacity.
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Matsumoto’s gleeful mix-and-match of ages and styles is even justified in terms of his tale’s internal logic as the characters are all desperate to locate themselves through clinging on to pieces of the past, to familiar and amusing things that subvert the impersonality of an oncoming state of total, alienated modernity, embodied by the robot people. The tavern full of toughs all weep in listening to Ryuzu’s song of longing for lost childhood. It’s not until they reach their destination in the Andromeda galaxy that they confront a shining, alien, inimical bastion of pure modernity that just so happens to look like any sleek new train station or airport, a setting equated with the loss of identity, physicality, and the pleasures of liminal existence. The robotised people Tetsuro encounters are all haunted by their loss of it, like Claire, who gained her crystal form to please her mother, or driven into utter hysteria, like Shadow, or completely lose humanity, like Count Mecha. Ryuzu testifies to abandoning her human body to please the count and eventually evolving into a spiritual force with power over time itself, but losing in the process all sense of tangible existence. The basic theme could be read Rintaro and Matsumoto’s next-generation burlesque on the comfortable power fantasy of Tezaku’s Astro Boy as well as mediating the post-human disquiet of arguably the most famous anime works, Akira (1987) and Ghost in the Shell (1995).
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Despite being produced on a relatively small budget, Galaxy Express 999 proved the biggest hit of the year at the Japanese box office upon release, a sea-change moment that coincided with Hayao Miyazaki’s debut on Lupin III: The Castle of Cagliostro in announcing cinematic anime’s arrival as a potent cultural force. Miyazaki’s later films would often sport his particular brand of young heroine who combine the qualities of Tetsuro and Maetel. Galaxy Express 999 was soon taken up by New World Studios and became the first anime film in many years to be released in the US, albeit in a sharply truncated form. The animation style of the film is fairly limited because of the budget, and yet it’s a stream of visual pleasures, particularly the ecstatic sequence when the train takes off for the first time, Tetsuro’s enthralled perspective conjuring the sight of his mother in the stars set to a theme song provided by the band Godiego, best known for scoring the cult TV show Monkey; the band were experts at creating a sound at once carefree and wistful. There’s a strong echo of Yellow Submarine (1968) throughout, not just in the basic conceptual conceit but also in the evocations of a fantasy landscape built out of the detritus of a nostalgic perception of the world, a child’s vision of adult realms inflated and transmuted into the stuff of dreams.
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That quality is apparent in settings like the towering, cavernous halls of the Express’s railway station, and echoes on through the film’s visions of surreal splendour. Shots of the train speeding across the face of the Earth and amongst the stars and planets, and descending through the cloudy atmosphere of Titan. A Plutonic landscape of hazy grey clouds and hovering moons with thousands of human bodies locked in the ice. The abstract green sworls and winging snowflakes around Tetsuro and his mother as she dies, her hair shimmering in the wind, and the appearance of Count Mecha and his hunters with their single huge glowing eyes. The grotesque sight of Tetsuro’s mother’s body mounted and stuffed in Mecha’s banquet hall, in the midst of his faux-gothic castle. The stark, near-featureless faces of Shadow and Queen Promethium, whose dress is bedecked with stars and whose appearance most clearly echoes a figure out of Noh. When Tetsuro finally locates the Time Castle thanks to Emereldas, he sneaks into its halls and finds that Ryuzu is Mecha’s concubine and servant, and is promptly surrounded by the Count android guards. But Antares appears, having followed Tetsuro, and helps him annihilate Mecha’s guards and finally, heroically blows apart the shield Mecha and Ryuzu hide behind, whilst Ryuzu fatefully betrays Mecha by refusing to transport them in time, giving Tetsuro the chance to shoot the Count dead. Ryuzu grievingly strips down to her robotic body and lies with Mecha as he and his castle crumble into a rusty pile of scrap.
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Success against Mecha does not sate Tetsuro’s anger, however, as he now believes robotisation is a scourge destroying all that’s worthy about life. He resolves to travel on to the last stop on the Express’s route to the machine planet and destroy it to. But he’s in for a rude shock as he learns the name of the planet is the same as his travelling companion, and learns from the robots who meet him at the station that although he’s killed the robots’ hero Count Mecha, he’s nonetheless a very fit candidate to be turned into a cybernetic component of the planet’s vast machine complexes. Stung and betrayed, Tetsuro smacks Maetel and is strapped to an operating table under Promethium’s approving gaze. But Maetel’s own, ultimate purpose finally reveals itself: she carries with her an amulet device containing the stored consciousness of her father, who is appalled by what Promethium has become, and intends destroying the machine planet, having stored up an explosive lode of energy to do so. Harlock and Emereldas throw in their support, attacking the planet with their pirate vessels to give their comrades a chance. Maetel falters on the very precipice of destroying her mother’s empire, so Tetsuro has to help her throw the amulet into Promethium’s power supply, whereupon the planet begins to disintegrate. Maetel and Tetsuro manage to get back to the Express, but find Promethium has managed to get aboard too. Rather than let her kill Tetsuro, the only person she ever felt was truly her friend, Claire grabs the Queen and detonates her own robotic body, blowing both of them up. Tetsuro pockets the only piece of Claire remaining, a piece of crystal shaped like a teardrop.
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Maetel’s considered act of parricide, however necessary, cruelly mimics Tetsuro’s own orphaning, releasing them both from the obligations of identity but also now needing to reconstruct themselves: for Maetel this means recovering her original body. And of course, being as they are a pair who love each-other but who cannot reconcile it to any familiar life role, they’re doomed to never quite meet in any sense, and Maetel delivers Tetsuro back to Earth and leaves again on the Express after a jolting moment when she kisses him on the mouth. In a moment reminiscent of the finale of David Lean’s Summertime (1957), Tetsuro runs alongside the Express as it departs, with Maetel gazing back at him, becoming the ghost of all things lost in growing up. It’s one of cinema’s great tragic finales, so of course there had to be a sequel. Adieu, Galaxy Express: Final Stop Andromeda was released two years later. Far from releasing the galaxy from robotic domination, Tetsuro’s actions prove to have sparked all-out war between humans and mechanicals. Hordes of robots are laying waste to Megalopolis, and Tetsuro is now one of a ragged and weary band of resistance fighters cowering in the ruins. Tetsuro settles down in a muddy puddle in his disheartened and exhausted mindset, only for the old, tough commander of the unit to tell him he might as well be choosing death. One night whilst gazing up into the sky, Tetsuro sees the familiar glowing green squiggle that is the Express’s wake coiling through the sky, but no-one’s seen it land on Earth in ages.
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Nonetheless Tetsuro soon receives a device from a dying runner carrying a voice message from Maetel calling him to board the Express. The rest of his unit volunteer to help him get by the robot patrols to the station, at the cost of their lives: the old commander uses his dying breaths to make sure the Express can take off. Tetsuro soon finds, to his bewilderment, he’s the only passenger on the Express and that Maetel is not on board. The Conductor introduces him to Claire’s replacement, a robot maid named Metalmena (Yôko Asagami), who claims to have taken the job to get a chance to get hold of “the most precious thing in the universe.” The Express makes its first stop on the planet La-Metal, where the human settlers are battling the robots. Tetsuro is wounded by a flying robotic sentry and saved by a guerrilla unit, and he becomes friends with an alien warrior, Meowdar (Kei Tomiyama). The duo explore a ruined castle and find huge portraits hanging on the wall that look startlingly like Promethium and Maetel, and Meowdar tells Tetsuro the rumour abroad that Maetel has taken her mother’s place as controller of the empire. Tetsuro is so enraged by this notion he slogs Meowdar. The two are almost captured in a robot ambush, but the appearance of Harlock’s ship helps them escape. Parting as friends, Meowdar leaves Tetsuro at the La-Metal station, where Maetel appears, striding out of the steam plumes, entirely unchanged.
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It’s not explained why Maetel never recovered her body and with the portrait on the castle suggesting she’s always looked this way, the cloned body idea seems to have been dropped (pedantic consistency of detail was never something Matsumoto’s properties have been famous for anyway). Tetsuro is joyous upon seeing Maetel again, but becomes increasingly perplexed and aggravated as she fends off his questions and encourages him to leave the Express. The train has strange encounters with other vessels. A craft the Conductor calls the Ghost Train bullies its way past the Express, much to the engine’s shame and chagrin. A spaceship commanded by a menacing cyborg calling himself Lord Faust (Tôru Emori), who seems to have a specific interest in Tetsuro comes next. Maetel almost gets herself killed leaping between the two when Tetsuro tries to shoot Faust, and his spaceship explodes from damage Tetsuro’s gun makes. Tetsuro makes it aboard the Express and Maetel is plucked on the edge of death from space by Emereldas, turning up in the nick of time. During a stopover on the heavily industrialised planet of Mosaic, Tetsuro sees the Ghost Train parked and thinks he hears the sound of a music box belonging to Meowdar, but he can’t break into the menacing craft. Maetel finally reveals that she didn’t send the message that brought Tetsuroi aboard the Express, and someone wants him to come to the true capital of the Machine Empire, Great Andromeda. Soon enough the Express gets there and Tetsuro learns that Meowdar wasn’t wrong: Maetel really has returned to take her mother’s place as queen, Promethium’s remnant consciousness still sustained as part of the planet infrastructure.
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Adieu, Galaxy Express is darker and punchier in many respects than its predecessor, kicking off with scenes of grimy warfare and cyberpunk terror that sharply anticipate oncoming preoccupation with apocalyptic imagery in much acclaimed ‘80s and ‘90s anime. The plot leads into a revelation that evokes Soylent Green (1972) as well as carrying strong holocaust connotations as Tetsuro learns that the energy pills the robot people take to sustain themselves contains life force drained out of captured humans, ferried to Great Andromeda on the Ghost Train. The film also displays increased directorial ambition from Rintaro working with crisper, more fluid and confident animation, apparent in an emphasis on dreamlike ellipses like the fades in and out of black interspersing the credits with the opening scenes and flashing, mono-colour backgrounds the envelope Tetsuro in moments of pain and crisis, and some cleverly animated battle sequences, including a nod to North by Northwest (1959) as Tesuro is pursued by a flying robot sentinel. The Express’s arrival at Great Andromeda, passing through barriers of time, space, and energy, becomes a dazzling psychedelic interlude, particularly well-scored by electropop artist Osamu Shoji. Both films are marvellously scored at that, the first replete with syrupy beauty by Nozomi Aoki and the second with Shoji’s spacier synthesiser strains.
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But Adieu, Galaxy Express noticeably lacks the sense of poetic metaphor that made the first film so striking, and wields a more generic edge to its animation concepts at times. The absence of Ichikawa’s input on the sequel tells, and the plot essentially boils down to a retread of the original’s, with appearances by the likes of Harlock and Emereldas feeling like afterthoughts. The best call-back is the most minimal, as Tetsuro catches a glimpse of Shadow still watching over her frozen charges in silent pathos. Maetel doesn’t turn up for a good fifty minutes, which means the film lacks its obsessive pole to Tetsuro’s for too long. Still, it’s just as desperately romantic and outsized in its evocations of dire emotional straits, becoming particularly gruelling as Meowdar and Metalmena die, and offers up moments of deliriously transformed emotionalism like Harlock’s mouthless female alien crewmember weeping spherical, crystal tears. Rintaro offers ideas reminiscent of Mario Bava’s Operazione Paura (1966) in his portrayal of a malign mother punishing a hostile world and following a relentless quest for power ever since she and an infant Maetel were exiled from their home on La-Metal, a tragedy suggested as in Bava through portraits on the walls of a ruined castle. High gothic paraphernalia and technological Gotterdammerung collide as Maetel once more confronts her mother and steps into her shoes – if only, as it proves, to access a sanctum and find out the truth behind the fate of the human captives. Metalmena’s object of desire proves to be Maetel’s body itself, hoping to transfer her consciousness into it, but learning just where the power capsules she likes consuming come from drives Metalmena to attack some of the robot guards, getting herself terribly wounded but earning Tetsuro’s admiration.
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Adieu, Galaxy Express also goes memorably for broke in a spectacular finale when an even more formidable threat than Prometheum and the mechanical empire appears, a force dubbed Siren the Witch, an all-consuming cosmic void attracted by the wealth of energy on Great Andromeda. As Siren begins sucking in everything in its path, the crews of the Express and the pirate ships have to try and make headway whilst not using their computer systems or other sophisticated machinery, which means for the Express quite literally driving its engine with coal in the boiler. Meanwhile Tetsuro has to duel the looming Faust upon the train roof, trying to use the lesson he learnt for Meowdar about listening for robotic enemies rather than looking for them. Tetsuro wins the duel, only for Faust to reveal, as he drifts off into Siren’s maw, that he’s Tetsuro’s long-lost father: it was he who arranged Tetsuro’s journey so they could fight out the basic battles between human and mechanical, old and young. There’s such wild spectacle here, with an undercurrent thrusting the material back into the correct zone of Oedipal frenzy, that it makes up for the feeling of déjà vu, and also suggesting the ultimate irony that a Matsumoto property was suddenly in debt to George Lucas rather than vice versa.
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A bittersweet coda beholds the wastes of Great Andromeda, reduced to the frozen asteroid it was originally, the ghost of Prometheum’s consciousness still clinging to it in delirious longing for her daughter’s touch, who stands upon the planetoid with Tetsuro regarding the waste. The most interesting, tantalising, painful idea constantly repeated throughout the two films is the awareness that gaining anything, from victory over evil to achieving maturity, usually requires losing something just as vital, and to exist means being gnawed at eternally by that sense of loss. Inevitably, Maetel parts from Tetsuro once more, now with the stated awareness that she’s a wanderer in time whose job it is to help other boys grow up, and Tetsuro’s last wail of her name from the departing Express still carries with it the charge of loss even as a final title declares he’s become a man at last. Anime has grown a lot as a school of cinema since these films, but they stand as estimable, defining classics in the style. Mainstream worldwide cinema perhaps owes them a debt both immediate and through their influence on the mode – would the filthy, glistening world of Blade Runner (1982) exist otherwise, or the fierce images of human softness in the clutches of robotic hellspawn in The Matrix films, the poetics of Wong Kar-Wai (his 2046, 2004, borrows a lot from the Galaxy Express 999 concept as well its obsession with the ephemeral, and his The Grandmaster, 2013, references it in a key scene), or even perhaps the “King of the World” scene in Titanic (1997)? At any rate they’re marvellous lodestones for the gregarious pleasures of anime, and at their best attain that rarest of conditions for popular art, the feeling that they’ve cleaved off and kept safe a piece of a collective unconscious, like that shard of Claire’s heart Tetsuro keeps in his pocket.

An English-language dubbed version of Galaxy Express 999 can be viewed here

…and the sequel, Adieu, Galaxy Express 999: Final Stop Andromeda here.

3 thoughts on “Galaxy Express 999 (1979) / Adieu, Galaxy Express 999: Final Stop Andromeda (1981)

  1. André Dick

    Great review, Roderick. I did not see it, but I was very curious. Hagiwara Sakutarô’s poem is beautiful. His review reminded me of the recent Isle of Dogs, influenced by animes, and my admiration for Miyazaki.

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    1. Hi Andre. The films are linked at the foot of the review so you can watch them if you ever feel so inclined. Thanks for reading anyway. I might take a look at Isle of Dogs; I generally don’t like Anderson much but I did dig Fantastic Mr Fox, suggesting he might be best suited to animation.

      Liked by 1 person

      1. André Dick

        Roderick, thank you for the nomination. I appreciate Anderson’s hard work. If you liked Fantastic Mr. Fox, you might like Isle of Dogs. And Moonrise Kingdom reminds me a lot of an animation too 🙂

        Liked by 1 person

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