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The Andre Nemec-created live-action Cowboy Bebop series has 10 episodes that are anywhere between 35 to 60 minutes long, and yet barely manage to communicate one anime episode’s worth of storytelling or inventiveness. Both loom like ghosts rather than being solidly etched out characters. His girlfriend Julia, who is Spike’s lost love, is seen even less in the anime series. The main villain, Vicious, who only appears in four episodes, is the best example of this. Because the characters are archetypes, they don’t speak much, and mostly hover about to create an impression on the viewer.
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The dialogue is hard-boiled, given the series’s roots in noir and Western genres. What went wrong with the live-action adaptationĪn episode in the Cowboy Bebop anime has a self-contained story, unless it has two parts, and is no more than 25 minutes long. Pulp Fiction clones aren’t quite the same as Pulp Fiction, is it? Such was the confidence of Watanabe and his team in the hipness of their work that they called Cowboy Bebop a “new genre unto itself”. His second film, Pulp Fiction provided the roadmap for other copycat directors, such as Gary Fleder, with Things to Do in Denver When You’re Dead (1995), and Doug Liman with Go (1999). Tarantino, the master-deejay of cinema, slices and dices a hundred different movies and builds something seemingly new from the pieces.
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The fluidity with which Cowboy Bebop’s multi-genre influences mix with one another and flow like fusion music or free jazz, is hard to replicate by another team because it is just so distinctive.Ĭowboy Bebop’s legacy is like that of Quentin Tarantino’s Pulp Fiction. What is most striking about Watanabe’s anime series, and the factor that has made it iconic and much-loved, is its attitude of unbridled coolness. The rest involve the group hunting down riff-raffs across the solar system. All five are looking for closure, but they are mostly having fun in the 26 episodes, out of which, only nine concern their individual stories. Even the dog Ein, with its history of being experimented upon by scientists, is not spared from the series’ thorough line of unresolved past. The group’s otaku-representative Radical Edward is unsure of their past as well. His partner Jet, who left the police after feeling disgusted by its corruption, is straight out of film noir, as is Faye, with her femme fatale ways.Īll three feel betrayed by individuals or institutions they trusted in their past, which continues to haunt them. The unruly and trigger-happy Spike, a hitman who has quit the Red Dragon crime syndicate, is a Western hero. The characters themselves are more archetypes than flesh-and-blood humans. Yoko Kanno’s eclectic score combining jazz, blues, country, rock, pop and electronica further plays up the anime’s postmodern energy. The USP of the Cowboy Bebop anime is its seamless infusion of genres such as Western, film noir, yakuza, and horror into science-fiction, particularly cyberpunk and space opera. The team includes ex-criminal Spike Spiegel, ex-cop Jet, con woman Faye, hacker kid Radical Edward, and a genetically engineered corgi, Ein. The Shinichiro Watanabe-directed Cowboy Bebop anime series is set in the year 2071 and follows a group of bounty hunters moving from one mission to another. It’s almost like Netflix set itself up for failure. In the run-up to the release on November 19, Netflix’s social media team had been releasing videos in which scenes from the new series are placed alongside moments from the anime that inspired them, hoping they could get a thumbs-up from fans. What is comical is that Netflix is streaming all 26 episodes of the anime as well, so anybody can watch and compare. New viewers will either think it an average Netflix sci-fi series such as Altered Carbon or The OA, or at best, a mild curiosity, like Dirk Gently’s Holistic Detective Agency. Is Netflix aware of how badly they have botched up their Cowboy Bebop live-action adaptation? Fans of the classic anime are already hating it.