Mamoru Oshii is quoted as saying that Angel’s Egg “kept [me] from getting work for years” and that makes me kinda sad to read even now, years after his career skyrocketed.
Angel’s Egg (Tenshi no Tamago) 1985
I do see why it freaked out the studio suits – but it’s a beautiful film that deserved to be made, I reckon. And in an utterly non-controversial way, I reject the idea that something is only good if it is wildly popular and makes a lot of money – but that’s an aside, I guess, let’s get back to the movie.
Angel’s Egg is fascinating to me and I found it deeply immersive; there’s so much atmosphere built in to every moment, from the dissonant opening to the way the rest of the movie builds and reveals detail about the dystopian-like setting and its lonely characters.
If you’ve read much about the film you’ll know it’s not praised for its narrative but that isn’t to say that Angel’s Egg is without story or events; there’s a lot going on but so much rests in subtext, leaving us to infer things like motivation, consequence and purpose. In a way, the film is almost a study in animating water, light, shadow, in visual storytelling.
Of course, it’s more than those things but Angel’s Egg is also so much like traditional visual art. The composition and framing of so many shots as the Girl moves through the seemingly empty city with her egg, is relentlessly striking. It’s also exceptionally minimalist (dialogue-wise especially) in terms of palette – covered in blues, greys, blacks and whites for the most part. It’s ghostly, moving.
The sound design is equal parts haunting and dissonant – from metallic sound effects to softer rain, to the unearthly choirs, there’s a darkness there too. In fact, shadow is probably the key element to Angel’s Egg, how it moves, conceals or contrasts is constantly explored by Yoshitaka Amano and Mamoru Oshii. The closest comparison I can make to the style is probably the way German Expressionist film can be said to focus on the following:
- Mise-en-scene and heavy atmosphere
- Long shadow effects
- Details of sets used to evoke emotion or provoke thought
- Camera set in unexpected angles
- Mystery, hallucinations
- A slower pace than other movies
Expressionism does explore other things in different ways too but I think that Angel’s Egg is what you’d get if Anime met Expressionism, and it had me enthralled – glued to the couch, as it were. And while it all sounds bleak perhaps, I think the movie does explore hope (and maybe offers some too), though that can be a bit buried – at times the darkness and even the surrealist touches take charge; there’s even echoes of the Venice seen in 1973’s horror classic Don’t Look Now.
Related to above, there’s an aspect that I don’t want to spoil and which somewhat sums up the idea of surrealism in the film – it’s both moving and kinda sad, purgatory-like in a way – but again, I won’t mention specifics in case those of you reading have never seen the movie. In a similar way, I won’t ruin the final, chilling shots but I will circle back to my word choice of ‘purgatory’ because Angel’s Egg does have a strong focus on Christian symbolism, even if it’s not a film anyone would call ‘preachy’. Lots of room for the viewer to decide what they felt about the movie and the characters here.
Once more, I’ll repeat that I don’t think everyone will enjoy Angel’s Egg (which is normal and valid of course) but I think it’s worth watching at least once for the visual elements alone, and for how very non-typical the film was for the anime world.
A classic but not everyone’s classic 😀