An unscrupulous music executive and his flunky kidnap an alien, blue-skinned techno band, rob them of their identities, pass them off as human, and foist them on an unsuspecting public on Earth. After their arrival and their impact on the human population, the members of the band try to piece back their identities, escape from the clutches of the evil music executive, and return to their own world.Written by
At one point a football match is shown on a monitor; the teams playing are Japan and France. The two collaborators, Daft Punk and Leiji Matsumoto, are French and Japanese respectively. The score, 2 for France and 1 for Japan, represent how many were from each country. See more »
The number of strings on the various instruments is wrong. See more »
In its way a remarkable film, and a genuine one-off, which deserves to be better known amongst animation lovers. Co-director Leiji Matsumoto, who during his long career in anime has been associated in one capacity or another with such cheesy epics as Space Battleship Yamato, the Harlock Saga, Star Blazers & etc, worked with Daft Punk (a French two-man band specialising in electronic rock) on this unique feature. Deliberately recreating the extreme glam stylisation of the 1970's/early 80's Japanese animation style, albeit done with more fluidity and detail which modern day budgets and software allow, Matsumoto has married image and sound to hypnotic effect in a movie which in effect is both unique and unforgettable. A "digital love story" of a kidnapped technoband - who incidentally travel together in a Scooby-Do like 'Mystery Machine' as events unfold - and an evil music impresario (echoes of the obscure Toomorrow here (1970) - anyone seen that?). Despite some snipes at pop exploitation, there are no great depths here story-wise, although there are dark elements, such as the painful burial of a deceased major character. But the characterisation is not important, as it was not what the creators were after, leaving the graphic designs and timings to unfold. What makes the film so great is the peculiar manga-music hybrid that results, as the stylised visual design and editing rhythms join with a contemporary soundtrack (the entire film is wordless outside of lyrics)in a way which is both culturally nostalgic as well as being strikingly modern in effect. The plastic surface which results entirely transcends the original pulp manga inspiration. In short it's a film which sounds naff but, somehow, works. As an achievement the result is miles ahead of the director's previous, briskly produced juvenelia and ought to be required viewing.
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