Dallos

And so it begins...

Yes, I noticed I haven't made a post in a year or so. Not that I was sick, or that busy. It's just that the film and Animé industry haven't been that interesting for a 43 year older like me. The COVID years really hurt the industry, and as they say "business is where you find it", so the streaming platforms took the chance and have been pushing our brains into enjoying films at home instead of buying a movie ticket. Fast forward to 2025, and the good old days of going to the movies seem to be in their final days. While this is extremely convenient for the streaming moguls, we also saw the end of production for Blu-ray Discs, thus there has been a shift in how we consume entertainment. Although compact discs seem to be making a solid return, they never stopped manufacturing them, just so you know, this is the world in which we're living. Now, explanations set aside, I still have plenty of old Animé left for reviewing here, so let's go!

Dallos, to everyone's agreement, is the firs OVA, OAV if you prefer, ever made. The story and setting take influence from past works such as the 1966 novel The Moon Is a Harsh Mistress. The story was developed by the late Hisayiuki Toriumi, who is known for his work on Science Ninja Team Watchman, Area 88, The Mysterious Cities of Gold & Tekkaman. Although he remains uncredited as the director, because a young Mamoru Oshii took the directing helm. However, don't expect to see his skills to be at full power here. Any of the magic he created for Angel's Egg (1985) & Ghost In The Shell (1995) it's simply nowhere to be found here.

the storyline follows a rebellion taking place on a moon colony. Star Wars anyone?. Why these people are in the moon you say? well, Earth resources have been already depleted so in order for mankind to survive, they move their society and sins, to mining colonies in the moon. The Earth Federal Government decides that all the resources have to be brought back to Earth for the wealthy to enjoy. Obviously, some colonies are against it, and the good old battle between good and evil starts. 

Shun, the archetype.

Although the presime seems unoriginal even for the early 80s, the story isn't that far from what have potentially happened in our real world. Politicians from Earth manipulate the older mining population into thinking they're pledging allegiance to their homeworld by working as slaves in the distant hope they may have a better future prospect. On the other hand, people born on the moon, represent the youngest population, and the force the rebellion needs to state their case. Shun Nonomura is the leading character, AKA, our rebel hero. One thing I like about Dallos is that, for a 4 episode only OVA, we do get to see the consequences of Shun's choices, and how these directly affect the lives of those who are close to him. The generational divide sets the mood for the rest of the story.

Production wise, the sole existence of Dallos may have proved the home video format for Animé was a viable possibility. The animation of  mechanical elements, like machines, robots, space crafts and buildings can still be considered top notch. On the other hand, character animation and design, may seem dated to younger viewers, but not for me. 

The OVA industry did find room at the homes of thousand of avid fans from the early day. While Dallos may have not been the only igniter for companies to produce the format, it definitely played its part offering something you couldn't see on TV: Content made for a mature audience. Although graphic violence and sex, were nothing compared to future releases, let's not forget the adult themes Dallos comes packed with. Although undeveloped, we see religion, class struggle, slavery, abusive governments, and the consequences of choosing sides. Themes that may appeal a more mature audience. Do you remember ADV's ad? You know, the one that said "Animé is not kids' stuff". Well, perhaps that's what ultimately made the format so profitable overseas. 

Give me VHS, or give me death.

Now, let's discuss the OVA industry a bit. as the VCR became hugely popular in Japan, demand for more Animé became a necessity for the red sun country. Video Stores would carry a massive variety of options for fans to look for. The Green Cat would have been the first OVA. However it was never released on VHS, or any home format during the 1980s. Dallos, on the other hand, was released by Bandai in 1983. Other production companies quickly developed an interest and started working on their own "direct-to-video" animations. The mid-to-late 80s became the golden era for the format, resulting in a lot of productions that are now considered as classics by Otakus, AKA, Animé connoisseurs. But, don't be confused by thinking anything made during these years is a certified must-watch experience. 

During Japan's economic bubble, production companies were more than willing to spontaneously decide to make a one- or two-part OVA in the 1980s. They paid money to anime studios, who then haphazardly created an OVA to be released to rental shops. Judging from sales, should a longer series be deemed feasible, TV networks paid for most of the production costs of the entire series.

Moon workers are not happy.

Now, who built the Dallos machine? no one knows, yet it is worshipped as some kind of god that is there since the early days of colonizing the Moon. What is its purpose? I'm not sure since, what happens on the final episode seems to imply it's a security mechanism that is only there to protect the moon instead of protecting its followers. Moreover the ending seems to suggest the story would continue to expand on this, and the rebellion against the Earth Government. Sadly, all we have left is the ending, and credit scenes where some of these things are hinted.

I for one, think Dallos real value lies in the fact, it hinted the beginning of an industry shift, were Animé would no longer be "for kids only". Plot wise, there are better OVAs out there telling the same story. However, producers and artists had to start somewhere, and this is the closest to evidence we will ever get. 

Dallos had no trailer, so this is the opening sequence instead:

天使のたまご / Angel's Egg

Blu Ray art by Yoshitaka Amano.

How many times do people rate movies based on the quality of the plot? Most of the time? all the time? Well, whatever the answer, I'm sure as long as you enjoy the movie, then we can agree we're in front of something worth revisiting. Still, beauty is in the eye of the beholder, and today's OVA in review is clearly one I heard was underrated. If the earlier entry (MADOX-01) felt like a "shut down your brain & enjoy" experience, today's entry has been described as a surreal, vivid, creepy, terrifying, amazing, astounding, memorable work of art. So, turn on your brain and enter: 天使のたまご  AKA,  Angel's Egg.

“When it comes down to it, I think the director doesn’t know everything about the movie. Everyone always thinks if you want to know something, talk to the director. I don’t think that’s true. I think the answer lies inside every single viewer.” - Mamoru Oshii

As cliche as it is, I’ll say it regardless: this OVA is not for everyone. By the end you’ll most likely be calling your parents, asking them to get you out from their basement and have you in their bed one more time, despite the fact you're 40 years old and smell like cheap beer. Angel’s Egg is a 70 minute joyride through the enigmatic mind of none other than the legendary Mamoru Oshii that has more Christian symbolism and allegories than one might care to see in their lifetime. On top of that, the movie is incredibly slow paced (not really a joyride is it...) and has the bare minimum amount of dialogue to keep the story progressing. Which might I add, calling it a story is either the greatest insult or greatest compliment to the film and is something each individual must answer themselves. The film was released by Tokuma Shoten on the 22nd of December, 1985. popular artist Yoshitaka Amano helped co-write the story along with Oshii who directed it. 

Boy.

Girl.

As mentioned above, each viewer will decide for themselves however deep or shallow the story and its message is. As such, I’m not going to analyze the story and its many symbols because while it may mean X to me, it most likely means A-Z for the next 25 people and this is where Oshii’s words speak volumes. It’s an interpretive story. However much (or however little) you want to search for the films meaning, you aren’t necessarily wrong. There is no conclusive answer. I consider it to be a surreal and highly thought provoking piece of interpretive art. But one man’s interpretive art is another man's garbage. It’s understandable why people don’t like the movie and why it failed when it was initially released. It is highly Christianic themed and is often considered as an interpretation of Oshii’s early life when he was studying to become a priest. With this in mind, the film may come off as pretentious and overbearing, but perhaps it is just a roundabout autobiography of Oshii’s early life. The true intentions of this piece will most likely never be known.

The story is meticulous, slow and every scene deliberate and full of detail. While on the surface it may not mean much, it may mean a great deal underneath in its ever so mystifying allegories. As such, the film requires a great deal of attention and open mindedness. The elongated scenes, to me are some of the most vivid cinematic experiences I've witnessed in any film. This technique will most likely make you remember these scenes, even long after the movie is over. Regardless of if you liked the scenes or not they contain a lot of meaning and detail. At the same time I can understand how they may deter viewers, adding to the list of why this movie isn't for everyone. Aside from these deliberate and almost painfully slow scenes, the film progresses slowly and the world and its characters are spectacularly developed as the movie progresses.

a mysterious demon like machine.

But why is it here?

The characters are fantastic. Both the boy and the girl have a mysterious air to them and many questions are left unanswered about both them and their pasts. They don’t really understand who they are or why they’re here. The lack of answers doesn't detract from the film, in fact quite the opposite, their recondite nature draws the viewer in. The greatest strength of the characters is that their interactions are genuine and realistic. The girl is innocent and timid. She emanates warmth and even acts childish around the boy at some points adding a rather heartwarming feel to an overly bleak atmosphere.Their subtle gestures and actions are used masterfully in the stead of dialogue, creating a very unique experience. 

Helen McCarthy (British author of Anime reference books) called it "an early masterpiece of symbolic film-making", stating that "its surreal beauty and slow pace created a Zen-like atmosphere, unlike any other anime". In his book Horror and Science Fiction Film IV, Donald C Willis described the film as "a haunting, poetic melancholic science-fantasy film, and–for non-Japanese-speaking viewers at least–a very cryptic one."

In an article in Senses of Cinema on Oshii, Richard Suchenski stated that the film was Oshii's "purest distillation of both Oshii’s visual mythology and his formal style". The review noted that "Patlabor 2 is more sophisticated, Ghost in the Shell is more important, and Avalon is more mythically complex but the low-tech, hand-drawn Angel's Egg remains Oshii’s most personal film." 

Faceless soldiers.

Faceless fishermen.

The orchestral score serves to further encapsulate the dark atmosphere of the film and is often foreboding at times, creating a sense of suspense for the viewer. It is serene, emphasizing the beauty and fragility of this poor innocent girl whilst it is equally melancholic highlighting the dark undertones of the dystopian world. The score wholeheartedly compliments and dramatizes the film.

The art is nothing short of amazing. The attention to every minute detail in each individual frame and background is truly something to behold. Not only is the art visually rewarding to look at because of this, but the combination of its dark color palette and entrancing cityscapes, skeletons, machinery and everything in between goes above and beyond in staging such an eerie and mystifying atmosphere that consumes this dystopian world. The characters are equally well designed and given as much detail and attention as the scenery. Amano Yoshitaka’s art truly makes Angel’s Egg what it is.

If only fish could fly.

Abandonment.

Angel’s Egg presents its viewers with an obscure message, enveloped in equally obscure symbolism and allegories. It indubitably blurs the line between the understandable and the incomprehensible. And as such, what each individual takes from this movie is subjective and is no more right or wrong than the next person’s interpretation. As Oshii said, the answer lies inside every viewer. On that reason alone, this movie will certainly fall short for some, and it’s absolutely understandable. But perhaps solace should be taken in the coalescence of the film’s breathtaking art and its mesmerizing music score. Perhaps, above all else, Angel’s Egg is a paragon of visual art.

Mandatory ratings of "story" and "character" seem constricting, implying that anime must be a narrative art.. Animation especially seems to have the potential to release visuals from these constructs and to become a poetic association of images or a musical rhapsody of color and movement, which engage us on a subconscious aesthetic level.. Not to imply that Angel's Egg is a non-narrative work of art— it isn't— or that it has no characters— it does, and effectively uses them as emotional vehicles. However, the existence of these implies that in art we are looking for an engaging story and psychologically relatable, entertaining, or in some way likable characters. For most, Angel's Egg is not going to present those things, but I do not consider that to its detriment.
 

Another empty day.

Hold on.

Overall, Angel's Egg leaves me with the impression of a world abandoned by God, where, left with empty meanings, only suggestions of happiness and reality are contained elsewhere, a world haunted by promises and vague suggestions of fulfillment, yet left in the dark and alone. The score embodies this impression, alternating between beautiful melodies, waltz-like rhythms, and dissonant dissolution; it feels like a transient dream always on the edge of being real and graspable, yet ultimately transient and unattainable in its distant beauty.

Rather than talk about how I choose to interpret every image in the film, I think it's best to leave it at that, as every viewer will have a different reaction and interpretation. Obviously this film moved me deeply. Maybe it won't move you at all. That doesn't make one of us right and the other wrong. This movie's images tapped into the subconscious reservoir of my fears and desires, maybe the images will mean nothing to another. It's an expressionistic work, that however exquisitely crafted, will fall flat for some people. What it means for others, however, has nothing to do with what it means for me. 

Here's the movie trailer:

the haunting soundtrack:

Piano Prelude: