TITAN A.E. Patchwork of classic science fiction motifs

The turn of the 20th and 21st centuries was a fertile period for all kinds of sci-fi enthusiasts. It offered yet another chance to ask questions about the fate of civilization in the face of the challenges of the future. Fascination with what the new millennium might bring to humanity once again grew strong, reviving classic motifs of science fiction literature. It also reached animated filmmakers. Titan A.E. from the year 2000 is one of its fruits.

On the payroll of 20th Century Fox’s animated production you can find a remarkable name. And I don’t mean the voice cast—even though it includes major stars like Matt Damon and Drew Barrymore. One of the people behind the screenplay is Joss Whedon himself, one of the founding fathers of the Marvel Cinematic Universe, who today, ironically enough, works for DC on new comic book blockbusters. TV fans, however, see him above all through the lens of two cult classics—Buffy the Vampire Slayer and Firefly. And the latter is crucial when discussing Titan A.E., since the 2002 series represents a similar genre tradition. We’re talking about the space opera: an interstellar, often swashbuckling adventure, with charismatic heroes at the helm of a starship. The similarities between the two titles are clear and anything but accidental.

Plot-wise, Titan A.E. is a patchwork of classic science fiction motifs. The year is 3028. Planet Earth has been destroyed in an alien invasion, and the remnants of humanity are scattered across the galaxy. Teenager Cale accidentally becomes the new hope for his race. The ring once given to him by his father hides a map leading to the Titan—a gigantic spaceship capable of housing the survivors and finding them a new home. The aliens, of course, will stop at nothing to thwart Cale’s messianic mission.

The script for Titan A.E. had been reworked by Ben Edlund and, since 1998, had been making the rounds in Hollywood in search of the right creator to bring it to the screen. That search led to Art Vitello, who at first intended to make Titan a live-action film. However, the positive reception of Anastasia, directed by Don Bluth and Gary Goldman, convinced Fox executives that animation would be the better bet—with the same duo at the helm. More than the story, which is a straightforward rehash, Titan A.E. entertains thanks to the quality of its animation. The film skillfully blends traditional hand-drawn art with computer graphics—just like Anastasia. But that’s not the only similarity. Titan A.E., like its predecessor, is steeped in a darker tone, deliberately evoking the style of Japanese anime.

Sadly, Titan A.E. is not fondly remembered by Fox executives. In 1999, the newly opened Fox Animation Studios faced financial troubles, which led to 300 layoffs. As a result, parts of the animation for Titan A.E. had to be outsourced to independent companies. A keen eye can even spot the differences in quality between certain scenes. The outcome was a box-office flop and the closure of Fox Animation Studios, which went down in history as a studio with only two animated features to its name—Anastasia (1997) and the ill-fated Titan A.E.

The film has therefore been remembered as a symbol of the downfall of a promising studio (one that could have provided serious competition for Disney and DreamWorks). Yet that judgment is unfair. Setting aside the production troubles, the Bluth–Goldman film is a highly competent animation that delights visually. True, the story is one we already know by heart, but thanks to a few stylistic nuances (such as the use of hard rock tracks that give it extra edge), Titan A.E. carved out its own character—one that, in my opinion, will keep it remembered for years to come. That said, I wouldn’t recommend it to parents seeking a simple adventure movie for their children. Its tone is far too mature, which paradoxically may have also contributed to its poor box-office performance.