The Galaxy Express 999 saga has been around for a long time, and tentatively ends with Adieu Galaxy Express 999. (In actuality, the film dates back to 1981 - but has been unavailable in the States until now). The film is available on home video from Viz and was recently broadcast on Canadian TV. Galaxy Express 999, despite its longevity, has never inspired the sort of empassioned devotion that, say, Bubblegum Crisis or even Gatchaman inspires in many fans. You'll not see Galaxy Express 999 webpages outnumbering Sailor Moon webpages any time in the near future! Rather, it is a poetic and meditative series, long on reflection and short on slam-bang action and sex appeal. The series is extremely abstract whereas most anime is more emotionally accessible and escapist. As such, it isn't for everyone.
Adieu, like the rest of Leiji Matsumoto's Galaxy Express manga and TV series, revolves around Maytel, a mysterious blonde woman dressed in black, and Tetsuro, an orphaned boy. The intergalactic train 999 takes the pair to many distant worlds and Maytel, acting as a spiritual guide, repeatedly shows Tetsuro how much suffering exists in everyone's lives. Tetsuro's emotions are often stripped bare by what he witnesses, almost like revelations in psychotherapy, and the series seems to urge that we recognise suffering as essential while refusing to succumb to it. There may be sadness in life, but there is also joy and friendship even if (as in the case of Maytel and Tetsuro) those friends are often absent. The violence in Adieu is often senseless, but never gratituitous, perhaps the most important quality of the series.
Adieu also contains several doses of mysticism. Maytel is an emotionally distant character for reasons that become clearer as the movie progresses; she is alternately angelic and spectral. The supporting characters (including Captain Harlock and Metal Mina) seem to be icons in an allegory, and the film moves at such a reflective pace that the viewer must make a special effort to pay attention to all the details. The train itself is a good example; its design recalls the trains of a bygone era, suggesting that the vessel is timeless and the voyage itself is a metaphor for the voyage we all take throughout our lives. The train and bus trips that we take when a preschooler often seem lengthy and adventuresome, and Tetsuro's adventures recapture a nostalgic time for its viewers when going on a trip was a big deal. As a personal note, I grew up near a train station, so the sound of an incoming or outgoing train is always nostalgic to me.
However, considering that the series has run for such a long time in Japan, a new viewer can pick up the story rather quickly with only minimal knowledge of previous events. Detailing the story here would ruin the viewer's enjoyment, but it suffices to say there are a few surprises in store even for older Galaxy Express fans. It should be noted that the Vader-like Faust is hardly a ripoff of Lucas' character; Faust is too contemporary with Vader for a clear copycat relationship to be implied. It should also be noted that several of the scenes, particularly Tetsuro's reuinion with Maytel, are astonishingly gripping.
The dubbing, done by Vancouver's Ocean Studios, is mixed. Saffron Henderson, the voice behind Gohan in Funimation's version of Dragonball Z, plays Tetsuro. In fact, hearing a Gohan-esque voice in such a somber setting is an unusual feeling. You may or may not appreciate it; you might expect Tetsuro to use a kamehahmeha technique on Queen Prometheum! Kathleen Barr is good as Maytel, perfectly capturing the enigmatic quality of Maytel and never reducing her to a one-note melody. None of the other voice actors are on the same level, and some of the minor character's voices (such as the Conductor's) are silly in a way that the original TV series never was.. Given that Matsumoto's character design is somewhat standardised, distinctive and powerful voices are essential for viewers to easily distinguish the characters. I'd have prefered stronger backing voices.
This reviewer obviously admires the *Galaxy Express series and in particular Adieu, but there are some flaws that may annoy those unwilling to suspend their disbelief. As in Matsumoto's other work (such as Star Blazers), the character design is very cartoony and awkward compared to the elegant draftsmanship of the space vehicles. In flashbacks, Tetsuro often looks more like a deformed monkey than a little boy, which is more than a little distressing. Matsumoto is unlikely to rival CLAMP in the Exquisitely Drawn Anime/Manga Sweepstakes, yet his primitive style is not without its charm and poetry. Van Gogh, after all, wasn't the greatest draftsman of the 19th Century, but his paintings are still incredibly powerful. Maytel fares better than most characters that Matsumoto draws. She is gorgeous without being inappropriately sexy, yet Matsumoto insists on drawing virtually every female in the series like her, which reduces Maytel's individuality. The constant emphasis on sadness can be tedious, too - has Maytel ever cracked a smile? Even Barefoot Gen and Akira had more comic relief than the Galaxy Express series. The relentlessly downbeat nature of Adieu might easily translate into a hilarious parody, however. As for the plot, it's very stream-of-consciousness which means that you may leave the videotape befuddled.
Adieu works best when viewed in small doses. As stated earlier, it posseses a powerful yet latent emotional punch and is best enjoyed in installments, not unlike how you would read the manga. Watching the movie in fifteen-minute segments and then reflecting on what you saw is the most rewarding way to absorb Matsumoto's message of tolerance and hope. The recent availability of Adieu on home video and the serialization that currently appears in *Animerica* may enlarge the Galaxy Express 999 fanbase somewhat, but it's likely that in America at least, Galaxy Express will forever remain a cult item. And that is truly a shame.
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