Gandahar is a kind of Eden where mankind lives in harmony with nature. Mirror-birds are the protectors of the kingdom. Queen Ambisextra must gather the female counsel when flocks of mirror-birds are decimated by a mysterious beam. Sylvain, a servant, is chosen to go to the kingdom frontiers to identify the menace which threatens the world of Gandahar. While reaching the borders, he discovers that an army of black metallic robots is advancing on Jasper, the capital city.During his journey, Sylvain encounters many creatures whom will help him on his mission.
We know that the Japanese along with Disney are masters in the field of animation. However, talent can be found everywhere, even in France. There are only a few sci-fi French movies. And genre animations are even less common. Thanks to the collaboration of René Laloux and Philippe Caza, Gandahar was adapted from Jean-Pierre Andrevon eponymous novel. The story is pure science-fiction where the universe is created in its entirety.
And it comes as a shock when one plunges into the movie. The visual cues are numerous and trigger a complete change of scenery. We are on another planet, an exotic Eden named Gandahar. Animals are born in flowers and trees have a weird shape. Creatures living there are peaceful and blue-skinned. Women are half-naked and jail cells are egg-shaped.
Although it dates back to 1987, the theme of the movie remains contemporary. Only certain sides of the design and sound effects feel a bit old.The scenario follows on the tested formula of creation that goes beyond the control of the creator. In this case, the metamorph, a kind of super-brain which represents conscience, would like to take control of Gandahar and its thirst for conquest seems to be boundless.
Even though the design of the universe feels sometimes outdated, it is still interesting to see the choices that were made and the originality of the ideas at the time. This outdated aspect is also part of the surrounding charm felt in the movie.
One will particularly remember the large gallery of creatures, monsters etc.
Speaking about it, the population of “és” evokes the idea of racism as it talks about a people beset by physical differences. When in the real world, there is segregation based on skin colour and the physique, the “transformed” are mutants who underwent extreme mutations. Some of them have too many arms, some others not enough. They are the victims of random genetic manipulations.
The movie conveys the spirit of a great morale, certainly utopian, but that could also be applied to our contemporary world. The giant brain represents the image of blinkered thinking. Diversity and associated with differences between peoples always win in the end.
On top of that, the metamorph was created by the people of Gandahar and that leads us back to the theme of creation that takes control of the creator, the latter being too passionate to be careful in regard of progress and new sciences.You can add to all that the strange partition from Gabriel Yared and you will get an anticipatory cartoon that is and will remain visionary. Maybe not for very long, as the human GMOs are coming closer and AIs will be aware soon of their own existence...
Director: René Laloux. Year: 1987. Based on drawings from: Philippe Caza. Music: Gabriel Yared. Adapted from the novel from Jean-Pierre Andrevon.
Jerome
Translated by Jenny & Oliver
Philippe Caza website
UK R2 DVD
Gandahar dvd will be released by Eureka Video on October 22nd.
It will feature :
New high-definition restoration of the original Laloux version in original aspect ratio
Newly translated optional English subtitles
Laloux short film La Prisonnière
16-page booklet with Laloux interviews and artwork
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INTERVIEW WITH PHILIPPE CAZA
Q: What was your job on Gandahar? You made drawings which inspired the animators?
A: I created all the characters, body-types and costumes, artwork and colors, principal decor, mostly as outlines, mostly with color-work, and thus created the models and graphic style of the film. I also drew the entire story-board in collaboration with René Laloux.
Of course, after me, came the animators and artists who were inspired, or more than a little inspired, and followed as closely as possible my models with the inevitable (inept) extrapolations. Finally, not a single one of my original drawings made it to the screen, but I am behind everything – graphic producer or sorts.
Q: One could argue that there are not many special Sci-Fi feature films and even worse, animated French films which make it to cinemas. How could René Laloux do it? Why are there not more movies like Gandahar out today?
A: That’s much too vast a topic for me… Many people have already given their opinions on the subject. Personally, I actually see many animated films in France like: Kirikou, Bécassine, Le Chateau des singes, Corto Maltese... and the next Caza with Phillipe Leclerc. And there are other projects currently in production… It’s not, in fact, all that bad.
Q: Apart from Gandahar, do you have other film projects at hand?
A: I did a short with Laloux, Comment Wang- Fô fut sauvé, from Marguerite Yourcenar. For the past three years Les Enfants de la pluie has been in production. It’s an adaptation from the book written by Serge Brussolo, A l'image du dragon. In the beginning, it was one of René Laloux’s projects, but he gave it up for reasons known only to him. The producer, Bélokan, alias Léon Zuratas (already working on Gandahar), then turned to Philippe Leclerc, who was also working on Gandahar, and myself. I rewrote the adaptation (with Laurent Turner, co-scenarist) and, as with Gandahar, did all the advertising art. Geographic and economic conditions permitting, I was able to invest much more in the preparation (all the pre-animation work) was done close to Montpellier and I was every day at the studio with the team. Now, at the end of October, the drawings are done (animation was completed in Seoul) and we are in the post-production phase: voice-casting, recording, sound, and music (Didier Lockwood). It will be out by Easter 03 (circulation MK2).
Q: Do you find that the general design behind Gandahar looks aged when compared to the advent and invasion of manga, that the artwork seems somewhat out-of-style?
A: Yes and the animation appears much too limp. On Les Enfants de la pluie I developed an artwork more frenetic, inspired a bit by the manga style, and the animation and scenarios are much more frenetic too, with a greater scheme and specific time-frame cut… You don’t fall asleep!
Pictures with courtesy of Philippe Caza
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