We are certainly in front of a work with a relevant and desired nostalgic potential, therefore very difficult to neglect, when evaluating its strengths and weaknesses. It is also easy to expect some intolerance from some of those who have come into contact with Gundam through the various AU, therefore less linked but also less objective in recognizing the importance of the progenitor, of whom this film tries to be a belated celebration (besides than an obvious attempt to milk the YAS cow without annoying the Tomino bull).
I skip the plot, but I spend a few words on the setting. We are indisputably in the ORIGIN-verse, so the continuity is that of the YAS manga, not that of the TV series or the further and different cinematic canon. So we are in the post-Jaburo and pre-Odessa, we have an Amuro just declared newtype and more confused and apathetic than ever, a Sayla who shows him some consideration (but nothing more, after all nothing happens between them even in the manga), a disillusioned Bright because he has already discovered that he has been a diversion of the Federation for months, Sleggar has replaced the tragically disappeared Ryu, and so on. In all this, a Kai outside his usual character who, although mocked and made speck in the manga THE ORIGIN, was at this point in the narrative still a disillusioned cynic and not very inclined to any initiative or good will. Here, however, he is decidedly more inclined to obedience, surrendering a small part of his iconoclastic personality to Sleggar, and silencing the rest. Which is a shame, because having someone at a certain point in the story who claims that Amuro has not been captured, but rather has deserted, would be useful. And a little parenthesis on the subject by Bright is certainly not enough.
The film is permeated by a new age philosophy at times exaggerated, to the point that the viewer must force himself to wonder if Doan, in addition to protecting, is not also plagiarizing the little orphans he himself made such (the scene in which Doan, feeling one of the youngest and "damaged" among his proteges who cries, remembers seeing him cry for the first time after having himself slaughtered his mother is very moving). An interesting interpretation that transpires only on two occasions through Amuro's astonished gaze. Too bad, especially because in the original episode this subtext was dealt with a little more openly.
Doan himself has no shortage of shadows undefined by the script: he is inclined to destroy anyone who shows up on the Island, both the federal forces and the team originally left behind by Zeon to control the island and its terrible secrets (not bad the revealing scene in which Marcos, swimming among the wrecks of GMs hidden in the seabed by Doan, surprisingly finds Zaku too), without any doubt, as well as he's able to deceive his boys by lying about the lack of electric power on the island (without really being explained why) or on the true nature of the military structures hidden there. It must also be said that Doan's choice of that precise island is certainly not wise, unless he wanted to combine the useful (hiding the children there) with the pleasure (pursuing his secret agenda). With due distinction, Doan and Amuro sometimes reminded me at times of Kurtz and Willard from "Apocalypse Now".
Much of the film focuses on the teachings of Doan, didactic and a bit cloying, but with a Miyazaki aftertaste of which Tomino cannot help but feel a certain envy, knowing him. The action scenes, very well choreographed, are at times hasty and a bit questionable (why on earth does Doan kill THAT member of the Southern Cross ?! Why does Amuro take out that other member like that ?!). However, they are enclosed in the first and third act to frame a story that would like to convey on something else ... but the fact remains: seeing the RX-78 rise and fight generates an excitement that leaves little room for anything else.
Finally, the gags, not all as funny as they would like to be, not all presented at the right moment of the story and above all not all right (we have the revival of the clash between Ramba Ral and Lucifer of THE ORIGIN 1 staged by the goat Blanca against Kai and Hayato, but also an unprecedented sequence of sexual harassments by Sleggar against Sayla that seem more a pathetic attempt to recognize her sex appeal with a 40 years delay, than a genuine attempt to make people laugh), but some jokes hit the target and, when in happens, it's really, really funny.
The direction is on the level of OVA THE ORIGIN, perhaps a bit better, while the integration between 3D models and traditional animation (although not yet perfect) is much better. Some music is very apt, but nothing unforgettable.
However, a promise made by Sunrise during promotion will prove to be a lie and will disappoint many fans.
Summing up, Cucuruz Doan's Island is a very successful attempt to "test" the potential of a remake of the original series with this new cinematic format, provided to do so, next time, having something more full-bodied from a narrative point of view to tell. Repeating other "filler" episodes like this (the beautiful "time be still" episode comes to my mind, it was proposed with an almost real-time narrative, in 1979), would bury this format.
Given the success achieved in the theaters, I rather hope for an adaptation of the never-told-so-far battle in Gibraltar, with the final duel between the Gundam and a certain red Zaku...
I skip the plot, but I spend a few words on the setting. We are indisputably in the ORIGIN-verse, so the continuity is that of the YAS manga, not that of the TV series or the further and different cinematic canon. So we are in the post-Jaburo and pre-Odessa, we have an Amuro just declared newtype and more confused and apathetic than ever, a Sayla who shows him some consideration (but nothing more, after all nothing happens between them even in the manga), a disillusioned Bright because he has already discovered that he has been a diversion of the Federation for months, Sleggar has replaced the tragically disappeared Ryu, and so on. In all this, a Kai outside his usual character who, although mocked and made speck in the manga THE ORIGIN, was at this point in the narrative still a disillusioned cynic and not very inclined to any initiative or good will. Here, however, he is decidedly more inclined to obedience, surrendering a small part of his iconoclastic personality to Sleggar, and silencing the rest. Which is a shame, because having someone at a certain point in the story who claims that Amuro has not been captured, but rather has deserted, would be useful. And a little parenthesis on the subject by Bright is certainly not enough.
The film is permeated by a new age philosophy at times exaggerated, to the point that the viewer must force himself to wonder if Doan, in addition to protecting, is not also plagiarizing the little orphans he himself made such (the scene in which Doan, feeling one of the youngest and "damaged" among his proteges who cries, remembers seeing him cry for the first time after having himself slaughtered his mother is very moving). An interesting interpretation that transpires only on two occasions through Amuro's astonished gaze. Too bad, especially because in the original episode this subtext was dealt with a little more openly.
Doan himself has no shortage of shadows undefined by the script: he is inclined to destroy anyone who shows up on the Island, both the federal forces and the team originally left behind by Zeon to control the island and its terrible secrets (not bad the revealing scene in which Marcos, swimming among the wrecks of GMs hidden in the seabed by Doan, surprisingly finds Zaku too), without any doubt, as well as he's able to deceive his boys by lying about the lack of electric power on the island (without really being explained why) or on the true nature of the military structures hidden there. It must also be said that Doan's choice of that precise island is certainly not wise, unless he wanted to combine the useful (hiding the children there) with the pleasure (pursuing his secret agenda). With due distinction, Doan and Amuro sometimes reminded me at times of Kurtz and Willard from "Apocalypse Now".
Much of the film focuses on the teachings of Doan, didactic and a bit cloying, but with a Miyazaki aftertaste of which Tomino cannot help but feel a certain envy, knowing him. The action scenes, very well choreographed, are at times hasty and a bit questionable (why on earth does Doan kill THAT member of the Southern Cross ?! Why does Amuro take out that other member like that ?!). However, they are enclosed in the first and third act to frame a story that would like to convey on something else ... but the fact remains: seeing the RX-78 rise and fight generates an excitement that leaves little room for anything else.
Finally, the gags, not all as funny as they would like to be, not all presented at the right moment of the story and above all not all right (we have the revival of the clash between Ramba Ral and Lucifer of THE ORIGIN 1 staged by the goat Blanca against Kai and Hayato, but also an unprecedented sequence of sexual harassments by Sleggar against Sayla that seem more a pathetic attempt to recognize her sex appeal with a 40 years delay, than a genuine attempt to make people laugh), but some jokes hit the target and, when in happens, it's really, really funny.
The direction is on the level of OVA THE ORIGIN, perhaps a bit better, while the integration between 3D models and traditional animation (although not yet perfect) is much better. Some music is very apt, but nothing unforgettable.
However, a promise made by Sunrise during promotion will prove to be a lie and will disappoint many fans.
Summing up, Cucuruz Doan's Island is a very successful attempt to "test" the potential of a remake of the original series with this new cinematic format, provided to do so, next time, having something more full-bodied from a narrative point of view to tell. Repeating other "filler" episodes like this (the beautiful "time be still" episode comes to my mind, it was proposed with an almost real-time narrative, in 1979), would bury this format.
Given the success achieved in the theaters, I rather hope for an adaptation of the never-told-so-far battle in Gibraltar, with the final duel between the Gundam and a certain red Zaku...