Galaxy Express 999

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.

This movie can be criticized as not having the hipness or technical quality of anime films today, but it is the depth of the story and passion of the art that make it such a classic. I'm not a big anime fan, and this is the only anime film I've seen that I would want to watch more than once.

The story is a wonderful and surrealistic coming-of-age type allegory. Despite elements common to science fiction (man vs. machine, hero setting out to avenge his parent's death), it stays free of cliche and retains an air of realism, or true surrealism. Almost all of the characters are more memorable and unique than most main characters in other anime films.

One of the unique things about this film is the way it conveys emotion so powerfully. I can't really define what gives it this quality, but it is extremely moving, like a good symphony or vast impressionistic landscape. The only other films I can think of (at the moment anyways) that have this quality would be the Godfather films.

In conclusion, anyone who appreciates what science fiction is about should see this film. It's a rare treat.

This movie inspired my IMDB name, Meteru. This, for some reason, appealed to me. Every 3 years, I see an anime that I'm really, really mad about, and this time it's GE999. Be forewarned- this film is very seventies. Bellbottoms are involved. There is scruffy, just-at-the-nape-of-your-neck-but-not-long-enough-to-be-cool hair. Some of the voice acting in the English version is really corny, albeit Saffron Henderson makes a good little boy. And some people interpret this to be a "children's" movie. Ladies and germs, this is not a children's movie. It isn't exactly "Orgasm in Demon City", as there is no nudity nor blood and guts. Some ignorant fools believe blood, guts and boobies are essential ingredients to Japanese animation. Go fig. Instead, this is a beautiful animation about a space-going train called the 999. Passengers are promised mechanical bodies that are practically immortal.Pain is deadened, but so is pleasure and purpose.

And it's all up to young Tetsuro Hoshino to stop it. And he has to grow up, too. It has beauty, soul and a mind of its own, and that's more than most of us could say about the crap that's shoved down our throats these days. The End.

I saw this as a child in the late eighties and I must say, Galaxy Express is one of those films that sticks in your imagination for a long time. If you've never understood the appeal of anime, discovering this film may be your golden ticket to Otaku-town.

The story is as delicate and poetic as Ridley Scott's Blade Runner. The cell animation, while somewhat traditional, possesses a vivid style that explosively portrays Leiji Matsumoto's great talent for character design and visual storytelling.

This is one of those unique children's films like Star Wars, The Dark Crystal and The Wizard of Oz that completely transcends 'family entertainment' status and stands as a classic of cinema on its own terms.

I highly recommend this film.

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*