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Interstella 5555: The 5tory of the 5ecret 5tar 5ystem
(Kazuhisa Takenouchi, 2003)
The amusingly titled animated movie Interstella
5555: The 5tory of the 5ecret 5tar 5ystem is a rather singular achievement.
On paper, a long form music video from the laudable dance music duo Daft Punk,
but in practice much more, the sixty-five minute anime delivers an exciting
fusion of modern pop music and modern pop moviemaking techniques. Conceived at
the same time as their “Discovery” LP, Daft Punk’s grand experiment
exhibits the astonishing incorporation of a set of tracks that might not
outwardly seem a good fit for such treatment. One certainly has to give the
scenarists bonus points for not only managing to work in visual touchstones for
the robotic sounds of “Harder, Better, Faster, Stronger” but also making its
lyrics relevant. There’s not a dull moment here, since even the lesser tracks
from “Discovery” are strengthened by the visualization. With surprising
substance and without edits always falling on the fourth beat, the gambit works,
resulting in a futurist Fantasia (that incidentally beats the pants off
of Disney’s own Fantasia 2000), that simultaneously recalls the
similarly ambitious experiment of Pink Floyd’s The Wall. Like any film
that is so dependent on music to tell its story, it has obvious applications as
a head-trip enhancer. What’s so impressive, though, is how rarely it feels
like a laser light show timed to the group’s music. Although the visuals are
endlessly inventive and open to just about anything as a reference point, the
movie contains a definite progression of character and plot that ensures the
spectacle doesn’t wear out its welcome.
The plot, such as it is, follows a
blue-skinned alien rock band as they are kidnapped, disguised as humans, brought
to Earth, and enslaved by an evil manager, who plans to use their success in his
bid to control the universe. One is tempted to read into this almost clichéd
tale of a record company that whitewashes and repackages talent for its own
gain, but I think it’s intended less as pointed satire than a spirited
recounting of one of the axiomatic rock legends. By necessity, the movie has
been conceived in purely cinematic terms, so all of the storytelling is done
visually. The exemplary character designs come courtesy of famed animator Leiji
Matsumoto (of Star Blazers fame), who uses his lifetime of experience to
create a range of drawn emotions that more than make up for the lack of spoken
words. Better still, even though there’s a strong emotional component to this
simple story, the tale never grows so self-serious that it stops functioning as
the perfect conduit to deliver Daft Punk’s club-ready tunes. It obviously will
help matters if one is, like me, predisposed to Daft Punk’s music (which lies
somewhere between prog-rock, house, and disco), but I hardly think a general
indifference to it would keep a viewer from enjoying what is one of the most
streamlined, breakneck animes I’ve ever seen. Coming out, as it has, over two
years after the release of the album that inspired it, it’s almost impossible
to see Interstella 5555 as a cynical attempt to cash in on the band’s
stature. In fact, the quality of this film is such that I hope that this is the
start of a new trend for a music industry searching for new revenue streams in
the Internet age (I do remember hearing rumblings that the band Gorillaz had
a similar project in the works…). As it stands, Interstella 5555 is,
with the possible exception of Disney’s short Destino, the best
animated film made in 2003, and a true testament to the artistry possible in two
very different mediums.
74
03-28-04
Jeremy Heilman
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