Ginga tetsudô Three-Nine

The animation isn't great, but it does have a certain charm. The design of the new world which is based on a very old one is striking. The story is intriguing, as it stars a little boy on a quest to avenge the death of his mother. During his journey he acts like a snotty little brat, but in the process helps a lot of people and they in turn help him.

The film is very long at over two hours and after half of it is gone, it seems as if the story is going to end soon, but it doesn't, it unfolds into different layers. However it remains fundamentally simplistic, abstracted in a way that it seems at the same time both naive and deep.

Common themes can be found in the plot, like the child avenging his mother, innocent love, machines that dehumanize, humans that do everything for their souls and so on, but each substory shows a different aspect of humanity so that in their simplicity, they all gather together to form a deeper meaning.

Bottom line: I don't regret seeing it. It is certainly a beauty for its time and it has an interesting story. I even recommend watching it.

My review was written in August 1982 after a Greenwich Village screening.

"Galaxy Express 999" is an attractive Japanese animated sci-fi feature dating from 1979. One of the many hits in the genre in its domestic market, film was picked up for U. S. distribution by Roger Corman's New World Pictures in 1980 but shelved after test bookings. Sporting an effective English-language soundtrack, pic deserves a second look, with tv usage a strong possibility.

Though the visual inspiration for "Galaxy Express" is from hit films such as "Star Wars", this episodic picture more closely resembles the format of Ray Bradbury's "The Martian Chronicles". Premise is to represent future concepts in familiar nostalgic forms. Thus the title refers to a vast space ship which looks to its passengers like a steam locomotive. Throughout the film, the visual mixture of the old-fashioned an high-tech creates comic juxtapositions.

Story concerns an orphan named Joey, who encounters a beautiful blonde (Matel) who looks like his mother, killed years before per flashback) in a "people hunt" by the evil Count Mecca. The young boy, styled with his dark hair covering one eye (Veronica Lake-style) is bent upon revenge, riding with Matel on the Express to search for Mecca's TIme Castle on some distant planet.

Stopovers en route bring him into contact with villains styled out of Westerns, pirate movies and other varied genres. After visiting the moon Titan circling around Saturn, duo visit the frozen planet Pluto, where humans' bodies are stored under the ice, after they have opted for immortality by taking machine bodies. The conflict between cyborgs (whose humanity is gradually draining away) and remaining human is the central theme, with the visuals making it understandable for younger viewers.

Working in a limited animation format, the chief drawback of which is limited movement (backgrounds are static and key characters move minimally), the film does boast beautifully colored elaborate designs. Once one gets used to the lack of fluid, full animation, the imaginative visuals are impressive. Characters are practically all human or humanoid, with the Japanese animators typically using Caucasian models (all the better to match the American voice dubbing). Oddest touches, besides the use of misspelled English words worked into the animated designs, are an Ed Wynn styled voice for the Express's kindly conductor, and giving John Wayne's voice and gait to a good guy named Capt. Warlock. Violence and semi-nudity account for the basically children's film receiving a PG rating.

One word can describe this movie and that is weird. I recorded this movie one day because it was a Japanese animation and it was old so I thought it would be interesting. Well it was, the movie is about a young boy who travels the universe to get a metal body so he can seek revenge. On the way he meets very colorful characters and must ultimately decide if he wants the body or not. Very strange, if you are a fan of animation/science-fiction you might want to check this out.

this movie is a classic of the genre. deals with innocense lost, the idolization of parental figures, the journey myth. everyone in the movie, even the secondary characters, has an agenda and a complexity lacking most american live-action movies, let alone the animated ones.

one of the best things about this movie is its use of iconographic imagery, the trains, the pirate ships. in the future where bodies can be replaced by machines without trouble, why not have trains and pirate ships. their allagoric status is made more powerful by their total out-of-place-edness within an outer space environment.

what's more, their importance to the characters becomes clear. in a world where the loss of body can lead to the callousness displayed by the "evil" characters, and their eventual loss of inner humanity, icons of what it means to be human become that much more important. each character in this movie is ultimately looking for that which makes them who they are. the landmarks of their collective pasts as the human race are important.

the best anime, in my humble opinion, is that which asks those questions because it is in the peculiar position of being able to explore it in fantastic ways. GE999 works well along those lines.

*drops $.02 in jar*

I was at my sister's apartment one night when I was around 14, and you know how it is when there is nothing on TV but you are bored so you keep flipping around, well this movie came on around 10 o'clock and I started watching it and although I wasn't able to follow what was going on exactly, I just could not turn it off. This movie was my first taste of Anime and it seems good Anime does that too you. I was deeply moved by Galaxy Express, to the point that I almost started crying towards the end. Quite a magical, imaginative movie. But yes, very very strange. I stayed up until two in the morning to see how it turned out.