
It’s a big old cliché, but it’s funny how your tastes change as you mature. Over the last few years, I’ve developed an appreciation of things I used to scoff at.
Red wine. Blue Cheese. Reading the morning papers. Showering regularly.
J-.
Ja-.
Jazz.
Hey! Whoa! Before you all start reaching for your mice, just let me explain will you?
It’s not jazz itself I’ve come accept. Good god no. It’s more those things which have heavy jazz overtones. Like red wine. And anybody who saw (or reads) American Splendour couldn’t deny that Harvey Pekar’s obsession with jazz gives it a uniquely geekish (in its truest, most uncool sense) slant. It works perfectly, no matter what your opinion of the music.
Same goes for Cowboy Bebop: The Movie. Its soundtrack is distinctly jazz-biased but instead of turning me right off, it fits. Indeed, the film feels properly hip. It’s refreshing to watch some anime without pumping J-Rock peppering my eardrums.
Directed by Shinichiro Watanabe (more recently of Animatrix fame), the film sits neatly between episodes 22 and 23 of the series from which it originates. Centring around the ultra-cool yet implausibly-named Spike Spiegel (a noirish blend of Bruce Lee and Steve McQueen) and his band of slightly frazzled mercenaries – Space Cowboys – Bebop: The Movie feels exactly as it is: a bigger-budgeted, epic stand-alone episode. Without the strict turn-around deadlines of the series, more time and care has been lavished over every cell, every aspect of the film.
Set on a Mars (in the future, obviously) faced with the release of a deadly virus during its Halloween celebrations, the Cowboys’ job – for 30,000,000 Woolong, no less – is to track down and take out military madman Vincent. Thanks to his shadowy career in the army, Vincent now has what must be a terribly inconvenient inability to distinguish between reality and fantasy. It’s his opinion that everybody bar him is insane and must be put out of their suffering. No wonder he's single, eh? To do it he’s gotten hold of a dirty great chemical bomb. This aspect of the movie – terrorism, chemical threats – has a worryingly relevant tone, and pushes it a good few degrees south of chilling.
Bebop is a true assault on the senses. The cityscape depicted is mind-boggling. In terms of scope and atmosphere – of almost being able to smell the streets and feel buffeted by passers-by – this must be an anime Blade Runner. The animation team even visited Morocco for inspiration for their Martian-Moroccan quarter. Famous landmarks from Earth have been recreated in the future, and a likeness of the Eiffel Tower seems to stand within walking distance of a Golden Gate Bridge replica.
Bebop has survived the transition to the big screen. Unlike some huge Hollywood adaptations, which seem to be a little removed from their sources, Bebop is simply a bigger and better version of the series. The film’s self-contained story means no character introduction is necessary. If you’re new to Cowboy Bebop, you can watch this cold and not miss out. It’s a perfect appetiser for the series. Of course, the experience is augmented many-fold if you are au fait.
Alas, crazy Ed, the young computer hacker, is still present. She (or he; I can’t tell) seems to be Bebop’s comic relief; a Jar Jars Binks sort of creation every bit as irritating as Lucas’ folly.
Ed aside, you must watch this movie. Preferably on a mansize television with all that Dolby bumph to gain maximum enjoyment. At a time when many movies are derided for being examples of style over substance, Cowboy Bebop is a triumph of style AS substance. Even with all that jazz.
Recent Comments