Angel's Egg (Japanese: 天使のたまご, Hepburn: Tenshi no Tamago) is a Japanese art film original video animation (OVA) written and directed by Mamoru Oshii.[2] Released by Tokuma Shoten on 15 December 1985,[3] the film was a collaboration between artist Yoshitaka Amano and Oshii. It features very little spoken dialogue and a story that is strongly allegorical which has led to many viewers confused by the film's supposed meaning.[2]

Angel's Egg
DVD cover art
天使のたまご
(Tenshi no Tamago)
GenreScience fantasy[1]
Created byMamoru Oshii
Yoshitaka Amano
Original video animation
Directed byMamoru Oshii
Produced by
  • Hiroshi Hasegawa
  • Masao Kobayashi
  • Kōki Miura
  • Yutaka Wada
Written byMamoru Oshii
Music byYoshihiro Kanno
StudioStudio Deen
Released15 December 1985
Runtime71 minutes

Plot edit

Angel's Egg follows the life of an unnamed young girl living alone in an undefined building near an abandoned city. She cares for a large egg which she hides under her dress, protecting it while scavenging the decrepit Neo-Gothic/Art Nouveau cityscape for food, water and bottles. In the prologue, an unnamed boy in militant garb watches an orb-shaped vessel covered with thousands of goddess-like sculptures descend from the sky. Awakened by the orb's whistles, the girl begins her day of scavenging, but soon crosses paths with the boy on a wide street traveled only by biomechanical roving tanks. Frightened by the boy, who carries a cross-shaped device over his shoulder, the girl runs off down an alley. When she returns to investigate, the boy has left. She resumes searching for food and glass bottles, avoiding the statuesque figures of men clutching harpoons.

Later, the girl spots the boy again and approaches him. He turns and surprisingly produces her egg from underneath his cape; she had abandoned it on the plaza where she was eating. He instructs the girl to "Keep precious things inside you or you will lose them," and returns the egg. When asked what she believes is inside the egg, the girl asserts that she cannot tell him. The boy then suggests breaking the egg to find out, which incenses the girl and drives her away, only to be pursued by the boy.

Eventually the chase gives way to the pair bonding, as the stoic fishermen figures spring to life and frighten the girl. The fishermen race after enormous shadows of coelacanth-like fish that swim across the surfaces of streets and buildings. The animated men ineffectually lob their harpoons at the shadows, hitting only brick and stone. As the shadows swim away, the girl explains that while the fish are gone, the men persist in hunting. The pair wait out the commotion within a vast cathedral decorated with stained windows of fish.

Leaving the city and heading towards the girl's settlement, the pair stop within a massive structure which appears to be the carcass of a beached leviathan. Noticing an engraving of a tree on a pillar, the boy describes his memory of a similar tree which grew to hold a giant egg containing a sleeping bird. When the girl inquires as to what the bird dreams of, the boy flatly asks if the girl still will not tell him what is inside her egg. The pair ascend a staircase arrayed with bottles of water, like those the girl collects, on each step. Adding her newest tribute to the line of bottles, the girl and boy reflect on their amnesia, wondering about their identity and purpose. The boy begins to recount the biblical tale of Noah's Ark. The tale deviates when the boy claims that the dove never returned to the ark, and thus its passengers forgot why they were sailing, forgot about the civilization drowned below, forgot about the animals who, as a result, turned to stone.

The boy asks the girl if they themselves or if the strange world they live in really exists, or if it is merely a memory like his image of the sleeping bird. The girl suddenly insists that the bird does exist, and leads the boy down corridors of ancient fossils to arrive at an aerie. There they find the skeleton of a giant, angelic bird. The girl explains her intent to hatch the egg.

Later, the pair warm themselves within the girl's settlement. As the girl drifts off to sleep, she speaks to the creature inside her egg of their future together. Outside, the heavy rain consumes the city and floods the streets. While the girl is turned away from the egg in her sleep, the boy takes it and smashes it, leaving afterwards. The next day, the girl discovers the broken shell of her egg and shrieks out, utterly heartbroken. She starts to run away from her settlement into the woods, past a giant tree holding a huge egg, in pursuit of the boy. In her haste, she falls into a ravine. Beneath the chasm's water, the girl transforms into an adult woman before releasing a final breath, which rises to the surface as a multitude of bobbing eggs.

As the rain suddenly abates, trees holding eggs like those described by the boy are shown to be scattered throughout the landscape. The boy stands on a vast shore littered with white feathers as the orb-like vessel rises from underneath the ocean. Among the thousands of statues adorning the orb is a new feature: a figure of the girl, sitting serenely on a throne and caressing the egg in her lap. The screen slowly zooms out to reveal that the land of the beach, the forest, and the city is part of a small and lonely island within a vast sea, appearing not unlike the hull of an overturned ship.

Voice actors edit

Nezu worked with Oshii once again in Patlabor 2: The Movie[4] and Mako Hyōdō played a supporting role in The Sky Crawlers.[5]

Themes edit

"I really liked the Bible when I was a little boy. And when I was a student, at one point I was planning to enter a seminary, but I didn't. Even now, though, I read the Bible sometimes" - Mamoro Oshii in 1996[2]

Angel's Egg touches on themes that are common in Oshii's films, including references to the Christian Bible, the symbolism of dreams, as well as the intersection of dreams and reality. Some of these themes appear in his other works, such as 1984's Beautiful Dreamer.[2] Although some publications have indicated that the film is built on director Oshii's supposed loss of faith in Christianity,[6] Oshii himself has stated otherwise in saying that he was not a Christian, but that he thought quotes from the Bible were cool and had a friend who was Christian.[7]

Elements from the film are believed by critics to be allegorical, including the girl with the egg that hatches, the man with a cross like rifle, and the ending sequence of the film which does not appear to be a literal series of events.[2]

In a 1996 interview with the magazine Animerica, Oshii stated that he made the film because it had elements that intrigued him, such as "Ruins; I like ruins; I like museums; I like fish; I like birds; I like water... and I like girls." He also stated that ruins appear to him in his dreams.[2]

Production and release edit

Angel's Egg was a collaboration between Oshii and Amano.[8] The film repurposes ideas that Oshii developed for a cancelled Lupin the Third film (which later became Legend of the Gold of Babylon); both concepts focus on a mysterious girl, while the angel's egg is based on the cancelled film's angel fossil.[9] The animation was produced by Studio DEEN, with Hiroshi Hasegawa, Masao Kobayashi, Mitsunori Miura, and Yutaka Wada working as producers.[citation needed] Oshii and Amano collaborated on the script,[citation needed] and Yoshihiro Kanno composed the music.

Angel's Egg was released in the direct-to-video format on 15 December 1985 by Tokuma Shoten.[10] The 71-minute OVA would later be used as the skeleton for the 1987 live-action independent film In the Aftermath directed by Carl Colpaert. Colpaert's movie occasionally intercuts with footage from Oshii's Angel's Egg with dubbed over dialogue, which does not appear in Oshii's film.

Reception edit

Angel's Egg did not do well with critics on its release, and Oshii stated that "it kept him from getting work for years".[11] However, it is considered "one of the highlights of 'artistic' anime and [his] career as a director."[8] The allegory and symbolism of the film, as well as the ending, have been cited by critics as a source of confusion for viewers.[12][2] The 1986 edition of Genkosha's Animation Video Collectors Guide commented, "This is animated art rather than story. It could be brought to a Soho gallery theater."[2] Brian Ruh, a critical analyst of Japanese popular culture, stated that it was "one of the most beautiful and lyric films in the animated medium."[13]

Critics note that the film is difficult to understand, with visuals and narrative that is both cryptic, convoluted, and allegorical.[14][12] Jason Thompson writing in Viz Media's online magazine J-pop compared the film's style to Night on the Galactic Railroad while noting that the meaning of the film may be elusive, stating "ANGEL'S EGG stands as an evocation of a mood and world which is powerful in spite of -- perhaps because of -- not being consciously understood."[12]

Helen McCarthy called it "an early masterpiece of symbolic film-making", stating that "its surreal beauty and slow pace created a Zen-like atmosphere, unlike any other anime".[15] In his book Horror and Science Fiction Film IV, Donald C Willis described the film as "a haunting, poetic melancholic science-fantasy film, and–for non-Japanese-speaking viewers at least–a very cryptic one."[1] Willis also included the film in his list of most memorable films from 1987 to 1997.[16]

In an article in Senses of Cinema on Oshii, Richard Suchenski stated that the film was Oshii's "purest distillation of both Oshii's visual mythology and his formal style". The review noted that "Patlabor 2 is more sophisticated, Ghost in the Shell is more important, and Avalon is more mythically complex but the low-tech, hand-drawn Angel's Egg remains Oshii's most personal film."[6]

See also edit

Footnotes edit

  1. ^ a b Willis 1997, p. 20.
  2. ^ a b c d e f g h Horn, Carl Gustav (February 1996). "A Director's Dreamscape - The Animerica Interview with Mamorou Oshii". Animerica. Viz Media. 4 (2): 4–5, 18–21.
  3. ^ "天使のたまご" [Angel's Egg] (in Japanese). Stingray - AllCinema Movie and DVD Database. Archived from the original on 21 September 2004. Retrieved 17 May 2016.
  4. ^ "機動警察パトレイバー2 the Movie" [Mobile Police Patlabor 2: The Movie] (in Japanese). Stingray - AllCinema Movie and DVD Database. Archived from the original on 10 March 2007. Retrieved 17 May 2016.
  5. ^ "スカイ・クロラ The Sky Crawlers" (in Japanese). Stingray - AllCinema Movie and DVD Database. Archived from the original on 2 June 2019. Retrieved 17 May 2016.
  6. ^ a b Suchenski, Richard (July 2004). "Mamoru Oshii". Senses of Cinema. No. 32. Archived from the original on 13 March 2018. Retrieved 15 May 2016.
  7. ^ 押井守の映画50年50本 [Mamoru Oshii's 50 Films, 50 Years] (in Japanese). Ritsutosha (立東會). 12 August 2020. ISBN 978-4845634446.
  8. ^ a b Ruh 2004, p. 46.
  9. ^ 「インタビュー押井守 幻の押井ルパンは『虚構を盗む』はずだった」『THEルパン三世FILES ルパン三世全記録 〜増補改訂版〜』キネマ旬報社、1998年、p.36
  10. ^ Haraguchi, Masahiro, ed. (10 March 1999). ビデオ編 た [Video Releases: Ta]. Animage Pocket Data Notes 1999 (in Japanese). Tokuma Shoten. p. 130.
  11. ^ Ruh 2004, p. 51.
  12. ^ a b c Thompson, Jason (1997). "Jason's Picks: Angel's Egg". J-Pop.com. Viz Media. Archived from the original on 19 February 2001.
  13. ^ Ruh 2004, p. 47.
  14. ^ "Lamu: Un Hermosa Expediente". Animedia (in Spanish). Spain: Ares Editorial (44): 34–35. June 2006.
  15. ^ McCarthy 2009, p. 39.
  16. ^ Willis 1997, p. viii.

References edit

External links edit