Wednesday, March 10, 2010

Review: Evangelion:1.01 You Are (Not) Alone

Eva is a story of repetition.
It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again.
It is a story of the will to move forward, even if only a little.
It is a story of the resolve to want to be together, even though it is frightening to have contact with others and to endure ambiguous loneliness.
I would be most gratified if you find enjoyment in these 4 parts as it takes the same story and metamorphoses into something different.

- Hideaki Anno

I understood Evangelion:1.01 to be a theatrical remake of episodes one through six of the Neon Genesis Evangelion television series. And, initially, I was correct. This film starts as a scene-for-scene remake of the television series spruced up via new animation and CG effects. But as the story progresses one comes to realize a shocking truth: this is not a simple remake; this is something different; this is a new Evangelion.

I came to this realization during the scene in which Shinji is first introduced to Evangelion Unit 01. In the series, this scene is the first instance of Unit 01 activating itself to protect Shinji. But in the film, Eva Unit 01 does not activate. So I thought to myself, "Wait a minute...in episode 20 Misato remarks that Eva 01 activated three times...they just removed the first time!" So I wondered how the film series would reflect this change, how they would alter the narrative to account for the lack of this initial self-activation of Unit 01. I stopped wondering this as the film progressed and I came to realize that, well, this is a new story.

I am not going to list all of the changes. If you give a damn about Evangelion then you deserve to experience these changes as I experienced them. You deserve to experience the feeling of minding your own business only to have your jaw drop, your eyes bug out, and to be overwhelmed by an inexplicable feeling of shock as you think aloud, to an empty room, "WHAT THE FUCK JUST HAPPENED?!?!"

*cough*Kaworu*cough*

Anyway.

The overall experience of the film is enjoyable. Memorable scenes from episodes one through six are replicated with, at the least, animation enhancements and, at the most, CG enhancements. For the most part, the CG enhancements meld seamlessly with the animation. There were only a few moments of painfully gratuitous CGI. Overall, the aesthetic experience is enjoyable and I appreciated the enhancements.

Also, the musical score retains the memorable songs from the series yet utilizes them in a far more tasteful and enjoyable manner. There are times in the original series where one finds the music to be annoying or jarring yet I thought music to be well-utilized in the film.

The English voice cast maintains only Spike Spencer and Allison Keith, the voices of Shinji and Misato from the original series. While this is initially quite jarring one eventually comes to accept the new voices. My main regret is that they lost Tristan MacAvery, the original voice of Gendo Ikari, because he was a fucking awesome Gendo Ikari. Rei's new voice actress is quite charming. And, let's be honest, Rei's is not a difficult voice to do. Asuka is not in this first film, but my understanding is that Tiffany Grant will not be the voice for the films. I withhold judgment on whether this is good or bad.

An aspect of the film which bothered me is the minor changes to the script. I have seen the original series I think 14 times, so I have most of the dialog memorized. So in scenes which are replicated between the television series and the film I was at a loss to explain why the dialog changed. For the most part characters say the same things, but in different ways. This was especially consternating with lines of Shinji and Misato. When the same voice actors are saying, basically, the same things in the same scenes one wonders why the lines would change and why the voice inflection would change.

For example, when Shinji first enters Misato's apartment this is the dialog difference:
Television series:
Shinji: I'm home.
Misato: Welcome home.

Film:
Shinji: Home sweet home.
Misato: Home sweet home.

I will admit that I am not comfortable with change, and so I recognize that my concern for these sorts of changes may be without merit. But come the fuck on; did that shit really need to change?

I think the most impressive accomplishment of Evangelion:1.01 is that it maintains the feel of the original series. It is often the case that a film adaptation will blatantly and brashly introduce a character rather than allow the audience to come to know the character. Given that the core narrative of Evangelion is manifest via one's coming to sympathize with Shinji, I appreciate that this film articulates his character in much the same way as the series. The film covers six episodes worth of content in 98 minutes yet still maintains the same feel and, for the most part, pacing of the series. This is impressive.

The ultimate point I need make, though, is that Evangelion:1.01 You Are (Not) Alone is not simply a remake of Neon Genesis Evangelion. This is a new narrative. To quote Hideaki Anno, this is a metamorphosis of the narrative from the series into something new, something different. If you watched Neon Genesis Evangelion you have not seen Evangelion:1.01. The film series is something else.

Perhaps this is best explained by comparing Evangelion to Star Wars. Remember how the Star Wars - Special Edition version of A New Hope was basically a prettier version of A New Hope with more Dewbacks? Alright. Evangelion:1.01 is not prettier Evangelion + Dewbacks. Evangelion:1.01 is like if in the Special Edition of A New Hope Luke Skywalker had a brother...and Obi-Wan didn't die.

For serious.

At the moment my curiosity is whether it is best to watch the film or the television series first. Initially I thought it would be best to watch the episodes first and then the film, to think of the film as a supplement to the series. But given that the film is something else...I remain unsure. I mean, the Evangelion television series was released in the states in 1998. So one way of experiencing the film is to have watched the series repeatedly since 1998 and then come to watch the film. As that is an impossibility for a new viewer, I wonder what the experience would be to either watch the episodes tomorrow and watch the film the next day, or watch the film tomorrow and watch the episodes the next day. In my estimation it is best to have watched the series repeatedly since the late 90s and then watch the film. But if that is not possible...best to just feel bad for not having watched the series already, you fucking slacker.

One last thing. When you watch it? Watch through the end of the credits. Oh sweet mother of Christ watch through the end of the credits. Actually, that answers my curiosity. You'll only understand what happens after the credits if you have watched the television series.

So, go watch the first six episodes of Neon Genesis Evangelion. Then watch Evangelion:1.01.

And watch through the end of the credits.

15 comments:

Roscoe said...

I stopped wondering this as the film progressed and I came to realize that, well, this is a new story.

I will admit that I am not comfortable with change, and so I recognize that my concern for these sorts of changes may be without merit. But come the fuck on; did that shit really need to change?

...

aren't these two comments kinda.. antithetical?

Roscoe said...

Curiosity has me wondering now..

How much of this enthusiasm is built upon picking it up expecting it to be mostly a "polishing the silver" rerelease, only to find out it's an elseworlds?

I mean, clearly, your major enjoyment of this comes from the recognition that "Everything you know may be wrong", and therefore built upon an idea that prior to changes showing, you knew.. for lack of a better term, "everything"...

And that's what makes an Elseworlds kinda neat.. it plays with what you already know to hint at things and stymies some of those expectations.

_J_ said...

You make a sensible point on the issue of change. And both points you raise are, I think, related.

To compare it to the Star Wars Special Edition, part of the concern fans raised was that the changes did not actually change the narrative; the new content and new material was simply there for reasons unknown. Did it fundamentally change the structure of the narrative for there to be more dewbacks outside Mos Eisley? Not really. So the change is, almost by definition, needless.

It seems to be the case, given the content of the film and the text on the included insert with the dvd, that these films are a chance for Hideaki Anno to tell the story he could not previously tell. The original series had budget constraints and other limitations which prevented him, perhaps, from telling the story he *really* wanted to tell.

What I care about in Evangelion is coming to understand the "True" story; I want to know the story Hideaki Anno is trying to tell.

For the sake of the zomg spoiler people I will not share spoilers, but there are some drastic and significant changes made to the storyline in Evangelion:1.01 such that I can appreciate the changes as manifestations of something new rather than a sprucing of that which already existed. So if he wants to introduce character X early in the story instead of waiting for, say, episode 24? Ok, cool; that is new and different and could significantly alter the storyline.


That being said? There are other changes which seem to have no utility at all, which are change for the sake of change. When a scene is exactly replicated between the television series and the film I wonder why the dialog need be changed.

Take, for example, the dialog I mentioned in the post:

Television series:
Shinji: I'm home.
Misato: Welcome home.

Film:
Shinji: Home sweet home.
Misato: Home sweet home.


The point of the scene is to establish Shinji's coming to live with Misato, to share a home with her as an equal rather than as her guest. The television series dialog, I think, maintains something of a heirarchy between the two characters wherein Misato welcomes Shinji into the home. She is established in the home whereas Shinji is new, so Misato is the welcomer to the newcommer.

This is changed in the film, where they both share the same line of dialog, so establishing a mutual level of establishment in the home.

If that is the reason for the change in dialog? Sweet deal. But I do not know if all instances of change in dialog between the television series and the film are that thoughtful.

I need to watch it a few more times.

MA17 said...

I'm interested in seeing what a new version of Eva might look like. It seems like a series that is particularly, if not uniquely, conducive to a re-imagining, given how the original series ended.

Curiosity on the dialogue change: does the Japanese track have Shinji say something like "tadaima" and Misato saying "okaeri nasai"?

I just watched the scene from the series, and when the door first opens, Misato says "sa, haitte" and Shinji "ano...ojyama shimasu". Then Misato explains that this is his house too, so then he says "tadaima" and Misato: "okaeri nasai".

The initial exchange is typical for a host/guest "come in" "Pardon the intrusion (lit. I'm in the way)". The second is typical for people who live together. "I'm home" (lit. just now) "Welcome home" (lit. please return).

I'm with you on the change to "home sweet home" being pointless. I don't understand how that makes the exchange any clearer, since the word HOME was present in the original translation to show the critical change in how Shinji thought of the place.

MA17 said...

Furthermore, who the hell says "home sweet home"? They should have had him say "Honey, I'm home!" and then cue laugh track.

MA17 said...

Egad, so they split up the chores and then:

Dub Misato: This is your home so feel free to take advantage of everything here. Except, of course, of me, that is.

Sub M: This is your home now, so make yourself comfortable, and take advantage of everything here, except me.

JP M: satte, kyou kara koko wa anata no uchi nan da kara. Na~ni mo enryou nante iranai no yo!

Lit: Well, since this is your house from today, there's no need any restraint at all! (emphasis on any)

Trans: Well, this is your house now, so feel free to do anything you want! (emphasis on anything)

I think the Japanese script leaves alone the implied sexual tension that the English script immediately diffuses. The word she uses for restraint "enryou" is used all the time as an invitation for someone to help themselves, ie. to food, to make oneself comfortable. I'm reading the way she stretches out "na~ni" emphasizes that he can help himself to aaaanything.

_J_ said...

My assumption is that when people translate things for anime they are

1) Drunk
2) Indifferent
3) Super-Drunk

_J_ said...

"I'm interested in seeing what a new version of Eva might look like. It seems like a series that is particularly, if not uniquely, conducive to a re-imagining, given how the original series ended."

Yeah. Given that the point of the series is to get Shinji from Point A to Point B, there are many different ways to do this.

So when they change the narrative regarding the Eva / Angel / Nerv storyline? I can accept this provided that it ultimatley gets Shinji to Point B from Point A.

_J_ said...

The other thing I like about Evangelion:1.01, is that it seems to articulate the Shinji / Misato relationship far better than the television series ever did.

I never realized it before, but after watching the film it struck me that Shinji and Misato are really the two main characters. The problem is that the television series somewhat skews this by affording more time to other characters. That sort of muddles the focus on Shinji and Misato.

There are a few new scenes in the film that really hit one over the head with "The relationship between Shinji and Misato is really fucking important, asshole." and I appreciate that. And it's not an overtly and offensive sort of hit on the head but rather a much appreciated "We fucked up on articulating this in the series" sort of hit.

_J_ said...

That last post was somewhat retarded so I need to clarify something.

I knew, in the television series, that Shinji is the main character.

What I did not realize is how important Misato is. She was quite important in the series, but is moreso in the film.

Roscoe said...

Hrrmn..

If you're trying to figure out the story Anno's "trying to tell".. I guess the next interesting question is.. where is that story to be found?

Entirely in the 1.01? In what's kept between the two? In what's changed?

for that matter.. the naming 1.01.. suggests that it might yet change again?


That coupled with the translation issues brings an even larger question,can you even get at it?

is interesting, though. Kinda like trying to piece together a coherent scene from an unreliable narrator who's trying but unable to quite commit to a tale.

_J_ said...

I would probably argue that the story he is "trying to tell" is some combination of the television series, manga, and the new films.

Where we find points of contention we inspect the manners in which each point leads to its own narrative, then look at the entirety of the project as a whole, contentions and all.

...

I feel dirty typing that.

MA17 said...

As inserted the disc to watch the first four episodes of Eva, I noticed, as surely others have, that the damn thing says Collection 0:1 on it.

Not sure if there's any reason to read in to that.

MA17 said...

i space i is redundant, therefore As inserted is grammatically pristine.

_J_ said...

"Not sure if there's any reason to read in to that."

There is always a reason to read into everything.