Tag Archives: Tiffany Grant

364. NEON GENESIS EVANGELION: THE END OF EVANGELION (1997)

“…for who would lose,
Though full of pain, this intellectual being,
Those thoughts that wander through eternity,
To perish rather, swallowed up and lost
In the wide womb of uncreated Night,
Devoid of sense and motion?”–John Milton, Paradise Lost

Weirdest!

DIRECTED BY:

FEATURING: Voices of , , ; , , (English dub)

PLOT: Neon Genesis Evangelion: The End of Evangelion picks up where Neon Genesis Evangelion: Death and Rebirth ended, with NERV under attack by the JSSDF and Asuka unconscious in the hospital. NERV mastermind Gendo frees a Rei clone which merges with the body of Adam. The resulting entity then initiates the “Third Impact,” which might bring about the end of the world, but leaves the final decision to angsty teen Shenji.

Still from Neon Genesis Evangelion: End of Evangelion (1997)

BACKGROUND:

  • The “Neon Genesis Evangelion” franchise began as a television series (and concurrent manga) in 1995. The final two episodes of the series were abrupt, abstract, psychological, and generally impenetrable and unsatisfactory to many fans. Creator Hideaki Anno received a stream of hate mail from fans after this polarizing ending, including at least one death threat. In response, The End of Evangelion was conceived as an alternate ending. Before it was released, the studio produced the feature Neon Genesis Evangelion: Death and Rebirth, which recapped the series and began the new ending which concludes in End of Evangelion.
  • Anno was severely depressed when he conceived the “Evangelion” series, and some interpretations often suggest the entire work is a form of self-psychoanalysis.
  • In 2007 Anno began a complete feature film reboot of the series, beginning with Evangelion 1.0: You Are (Not) Alone in 2007. To date the reboot has produced three movies, with the conclusion to the planned tetralogy due in 2020.
  • “Time Out” ranked The End of Evangelion #65 on its 2016 list of the best animated movies.

INDELIBLE IMAGE: The poster features a picture of goddess Rei’s giant white head rising from a blank landscape. That glowing face, with its sharp anime nose, is indeed iconic, but we’ll go instead for the moment when Rei’s head is floating in the upper atmosphere, a vagina-shaped third eye suddenly opens in the middle of her forehead, and a phallic cross drops into it, suturing it shut. But yeah, just about anything from the movie’s last half hour could qualify.

THREE WEIRD THINGS: Shenji the strangler; 1,000 permutations of a giant Rei head; sandbox stagelights

WHAT MAKES IT WEIRD: End of Evangelion is like a Jungian treatment of the Kabbalah performed by giant anime robots. You need to just float along on the occult imagery of the last half. Don’t try to understand it; like its Western cousin “Revelation,” it becomes disappointing when reduced to a literal meaning.


DVD release trailer for Neon Genesis Evangelion: The End of Evangelion

COMMENTS: You can’t possibly understand anything in The End of Continue reading 364. NEON GENESIS EVANGELION: THE END OF EVANGELION (1997)

CAPSULE: NEON GENESIS EVANGELION: DEATH AND REBIRTH (1997)

DIRECTED BY:

FEATURING: Voices of , , ; , , (English dub)

PLOT: Three children are recruited to defend humanity from a series of monstrous Angels.

Still from Evangelion: Death and Rebirth (1997)

WHY IT WON’T MAKE THE LIST: While certainly bizarre, there’s no reason to put an uneven recap of a television series in the List when a superior candidate exists in End of Evangelion.

COMMENTS: Despite its reputation as the seminal weird anime, for the majority of its original 26-episode run Neon Genesis Evangelion was not particularly unusual, aside from its penchant for psychosexual and biblical imagery. The series’ most notable quality, its focus on the emotional and psychological well-being of its cast, was remarkable in its depth but hardly unprecedented. Mobile Suit Gundam, arguably the most iconic and influential mecha series of all, made the traumatic nature of war a core part of its storytelling nearly two decades before Evangelion’s existence. The bizarre, surrealist elements that Evangelion is best known for today mostly comprise the last third of the series, culminating in its astonishing final two episodes.

The depletion of the series’ budget forced creator and director Hideaki Anno to complete it using narration over a combination of concept art, storyboards and stock footage. Whether by necessity or choice, the last two episodes of Evangelion more or less abandon the series’ narrative. Instead, they are expressionist psychological studies of the series’ protagonist, Shinji Ikari, and seemingly of Hideaki Anno. Today, Evangelion’ s final episodes are jaw-dropping, but in 1996 they were reviled by fans seeking resolution to a series they loved.

Evangelion: Death and Rebirth only makes sense in the context of the backlash to Neon Genesis Evangelion’s final televised episodes, because it clearly targets jaded fans of the series rather than newcomers. Death and Rebirth feels like a make-good from Anno to fans disappointed by the series’ finale. It is split into two parts: the first, Death, is a 70 minute compilation of clips from the original series, while the second, Rebirth, is a 30 minute preview of End of Evangelion, the film released four months later as a replacement conclusion to the television series. Death serves to remind fans why they loved the series, while Rebirth promises them a more satisfying ending.

Summarizing a plot as dense and labyrinthine as Neon Genesis Evangelion’s in 70 minutes is likely an impossible task. Death and Rebirth makes no effort to actually do so, and is a better film for it. Instead, Death uses events from the series to summarize the emotional journey of its three main characters: the anxious and self-loathing Shinji Ikari, the depressive and reserved Rei Ayanami, and the competitive and narcissistic Asuka Langley. The trio of teenagers are tasked with Continue reading CAPSULE: NEON GENESIS EVANGELION: DEATH AND REBIRTH (1997)