Just over the first half of Neon Genesis Evangelion: Death & Rebirth is all right. It’s a compilation of episodes from the “Neon Genesis Evangelion” television show, expertly edited by Miki Sachiko. There’s very little exposition, with all the backstory on the giant monster fighting–but not really giant monsters, kind of giant cyborgs–coming in as the first half progresses. It’s far from perfect, but it’s all right. It moves. And Miki tries to give it a narrative.
Miki gets the credit–along with the director of the first half, Masayuki–because the rest of Death (being the first half of the film) is a bit of a gross mess otherwise. Anno Hideaki and Satsukawa Akio’s script is all about these three kids, two girls, one boy, charged with piloting the titular Evangelion. They’re giant cyborg mechs fighting Angels, which aren’t just called Angels, they’re apparently humanity’s ancestors. Just reformed as giant monsters. Again, there’s no exposition, there’s no time for it. I’m sure the actual show has the entire backstory. But it wouldn’t help things, not get out of the gross.
The boy’s a little bit of a pervert. His dad has some creepy relationship with one of the girls, who the boy also lusts after; she’s some kind of clone or something. The third girl gets nothing to do in the first half except to imply drama without actually causing it (Miki’s got twenty-four episodes to cut together after all). In the second half, she gets more to do as far as action, but she also gets to get perved on while unconscious by the boy.
Also, all the adult women around these kids are grossly characterized too. I’m not sure I’ve ever seen something so misogynist with so much lip service paid to missing mothers. And all that lip service is from the female characters. Dudes could care less. The boy’s got perving to do, plus he’s not vicious enough so his dad’s got to help him kill.
Neon Genesis Evangelion: Death & Rebirth is also effective, at least in the first half, when it’s violent. Masayuki’s a fine director.
Now, the second half. The second half, the Rebirth part, is only about thirty minutes. Thirty crappy minutes. Thirty poorly directed, poorly edited minutes. Even with the problematic conclusion to the first part–oh, right, the boy’s also got a serious crush on the wrong boy, which is unrelated to why he molests a girl in the first scene of the second part–the first part has some amazing narrative efficiency thanks to Miki’s editing and is occasionally stunning. Fantastic use of music, for example. And Masayuiki’s a fine director.
Tsurumaki Kazuya directs the second part. Tsurumaki isn’t a fine director. Tsurumaki is a bad director. Especially after the first part.
Neon Genesis Evangelion: Death & Rebirth succeeds at disappointing, which is something since it doesn’t exactly start off promising much.
Directed by Anno Hideaki, Masayuki and Tsurumaki Kazuya; written by Anno and Satsukawa Akio; directors of photography, Shirai Hisao and Kuroda Yōichi; edited by Miki Sachiko; music by Sagisu Shiro; production designer, Okama; produced by Kadokawa Tsuguhiko; released by Toei Company.
Starring Ogata Megumi (Ikari Shinji), Hayashibara Megumi (Ayanami Rei), Miyamura Yûko (Sôryû Asuka Langley), Mitsuishi Kotono (Katsuragi Misato) and Tachiki Fumihiko (Ikari Gendô).