Japanese Film Criticism
Space Battleship Yamato, The Final Chapter
Akira Takahashi
The intention to “settle things“ is for one’s own benefit, but it is also likely connected to an effort to reaffirm connections with others. Unable to contain his own excitement over the 10th anniversary of Yamato, Yoshinobu Nishizaki, who also serves as director at the end of the series, embarks on a “final“ voyage toward personal “resolution.“ This expression of intent as a producer is clear and understandable, but when it comes to the other endeavor, the work itself, I felt it was unconvincing.
Leaving aside the irony that the series simply latches onto the phrases “farewell“ (the second film) and “be forever“ (the third film) and doesn’t seem to have any “conclusion“ afterward, what about the lack of substance in this story? The filmmaker’s arrogance is apparent from the opening scene, which once again presents a contrived cosmic mythology. Well, you’d think it was time for a quick “resolution,“ but you’re left waiting for a staggering two hours and several minutes.
The first hour is already a roundabout narrative, desperately trying to convince viewers of Yamato’s return with the appearance of Dengil and the approach of the water planet Aquarius to Earth. Then, by resorting to the desperate measure of resurrecting Captain Okita, who was supposed to be dead, and by having Susumu Kodai, who narrowly escaped death, return to Yamato, the story finally begins toward “conclusion.”
In short, the story is worn out, and the excuses for why Yamato is being used again are extremely long, and the time it takes to reach a conclusion is so boring that it’s irritating. Is this really a story that five writers, including Kazuo Kasahara, worked out? Dessler’s reappearance scene isn’t strange because Captain Okita is resurrected, but it lacks any new excitement.
When the “conclusion“ finally approaches, Okita is alone aboard Yamato in a “special attack“ to save Earth from Aquarius‘s water attack, and he tells Susumu Kodai and Yuki Mori, “you still have a fight left for you.“ That fight, he says, is for the two of them to fall in love and have children. This marks the conclusion of the theme of love, of being united and body and soul. But in return, Okita dies, and Yamato disappears into the ocean of space. Isn’t this kind of a mediocre “conclusion”? Rather, I think this may have been the only way to put an end to it.
As Yoshinobu Nishizaki himself has said, “the personality of the producer influences the work…“ The Yamato series can almost be seen as a record of the evolution of his own personal battle. Even if the outcome is mediocre, Nishizaki‘s “resolution” has certainly been reached. Evaluations of the work will be divided, depending on whether or not one can accept this narcissism. Perhaps summing up Nishizaki’s 10th anniversary of Yamato in this way is overly sympathetic. The final title sequence, with Isao Sasaki’s theme song and Yamato’s heroic figure, brings sentimentality to the 10 years that have passed.
Video NOW
Koichi Hino
A: Space Battleship Yamato, 1977
B: Farewell to Yamato, 1978
C: Be Forever Yamato, 1980
D: The New Voyage, 1979
E: Final Yamato, 1983
Spectacular! The complete Yamato collection is being released in various parts. A dual contract was made for the tapes, with A-D released by Toei on tape, A-C by Victor on tape and VHD disc, and E by newcomer VAP on tape. While Toei provides a blueprint for enthusiasts, Victor is in full swing with additional bonus features. Toei and Victor released the complete theatrical versions, using the exact same footage from West Cape, formerly Academy.
Toei’s audio is optical soundtrack mono, while Victor’s is [simulated] stereo on both tape and VHD. That’s the only difference. I’ve looked through all of Toei’s tapes. The picture quality is quite good for Toei. Well done, they made it! A space tale of the spirit of the imperial Japanese Navy, it tickles Japanese sentiment.
My daughter, who is now in her first year of high school school, has been crazy about Yamato since elementary school, so I asked her to check it out. A has the “complete uncut version“ of the TV series. The overture that was cut from the broadcast version is included without picture. C also includes Hiromi Iwasaki‘s song Galaxy legend which was not included in the theatrical or TV broadcast version. It is heard after the end credits, also without picture, so the running length is actually longer than indicated on the package. The picture quality is slightly better than a TV recording, with a different red color. D is a telefeature.
E is the latest release. It’s only available in mono and is a little more expensive than Toei and Victor, but the picture quality is the same. This film was released on March 15, and an unusual event occurred when about 30 theaters nationwide were unable to get it in time, so no screenings were available. When I watched it on video for the first time, the rougher production was obvious compared to the other others. For enthusiasts, Yamato is as precious as a God, but the still shots stand out like slides.
The video makers are not to blame, but I wish they had ended it on a high note.
Released by Toei entertainment video:
A: 135 minutes, 11 seconds. B: 151 minutes, 46 seconds. C: 148 minutes, 22 seconds. D: 95 minutes. 19,800 each.
Released by Nippon Victor:
Tapes A through C. ¥19,800 each. VHD discs A through C. ¥8800 each.
Released by VAP:
E: 151 minutes, seven seconds. ¥22,500. Handled by Toei.