The End of Evangelion

Let’s get rid of the obvious first. The End of Evangelion is inaccessible to anyone who didn’t watch the series. This shouldn’t be a point against the movie, though. There are enough great sequels who needed the first film. The fact this is two episodes smashed together to form a movie has no bearings on its quality.

There are far worse problems here. Evangelion was a brilliant series with a disappointing ending. Instead of using intelligence to lift up its story of saving the world, it went full retard. The deviation is only impressive if you haven’t been to the edge of weird storytelling. It contributed nothing to the series but was just a scattered essay with moving pictures.

The film was supposed to fix that, but sadly it doesn’t. Evangelion was never as deep as people say it is. It attempted subversions, but it lacked a theme to unite it all together. Religious symbolism and psychological portraits do not necessarily mean there’s a grand theme. They are ways to express ideas.

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The problems are already apparent in the beginning. It kicks off into a huge action sequence that lives little room for character development. It also perfectly replicates the intensity that made the TV show so fun.

Nobody talks about how fun the TV show us. The drama was engrossing and the action scenes were beautifully animated. Every metal bending, every hit, every explosion is full of power. The enemies have the unique, Angel-esque design and the scene is clean. The environment is bare, making it easy to follow exactly what’s happening. Michael Bay has a lot to learn from this film.

The film attempts the same psychological-monologue-slideshow thing, and it’s just as unnecessary and messy as in the series. It’s a little better, but the core problem remains.

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Moving to such territory is unnecessary. The story isn’t made for such experimental methods. At its heart, it’s a simple story about saving the world from the Unknown Enemy while realizing that humanity can be its own enemy, too. All you need for this story are characters who are convincing enough.

The monologues just go in circles, bouncing from one subject into another with no ideas concluding or connecting. This technique works in novels, but not so for films. You read novels in your own pace, so you take your own time to digest the word salad.

Movies set their own pace, so Anno is throwing at you images and words in machine-gun velocity. This could still have a chance of being entertaining, but experimental films often have a plot that works well with the method. You couldn’t tell the story of Pi without going full retard. It’s an abstract story at heart that happens only in Max Cohen’s head.

There is something about loneliness and the desire to connect. I heard this before and searched for it in this film. While the conclusion does touch that in a symbolic way that works, everything else was over the place like I remembered. Shinji is a neurotic and angsty teen, but his type of angst isn’t focused on enough. Is he a person who gave up on connecting to people like Mirai Nikki‘s Yukki? Is he an obsessive person who sees everything in absolutes like Max Cohen?

Perhaps I missed something in the series, but nothing here connected to a single theme. It starts to look like Digimon Tamers is an attempt to remake Evangelion with coherency. At least Tamers has a theme and symbols that point to it.

I once read that Anno said Evangelion could mean anything the viewer wants to. If so, then the show is about nothing. This isn’t how vagueness works. A story should not give simple answers, but it still needs to ask questions. Asking questions means it confronts a subject, and it’s not just about anything. Medabots asks whether weapons only lead to destruction, or whether they can be used for fun. The vagueness is in how the series makes strong cases for both viewpoints.

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The film still gets by because of its visuals. Despite the attempts at philosophy, the second part works in the same way the first part. Its epicness is exciting. It’s not as meaningful as before. We get monologues, instead of seeing characters in action but the visuals are still beautiful, and there’s a sense of self-importance that actually makes it fun. It stretches itself so far so just seeing how crazy it will go is entertaining. Despite the philosophizing, the film never forgets it’s a visual medium and that it should take advantage of it.

It’s an interesting addition to the Evangelion canon, but it supports the haters more than the fans. Instead of giving Evangelion a coherent ending, it shows how the series never had a grand theme to begin with. Knowing your limitations is important. If Evangelion stuck to its story of saving the world, it would’ve been fantastic. Still, a scattered but creative mind still has plenty of worthwhile ideas.

3.5 Angels out of 5

 

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