Post-apocalyptic art–whether literature or movies–is provided, sometimes all too easily, ample opportunity for flirting with the grand, for making sweeping statements about human nature and the meaning and purpose of life. After all, it’s the (often violent) end of the world. Time to speculate about the new, phoenix-like world that may rise from the ashes of the old, or to mourn the loss of not-easily replaced intangible moral goods of a world gone missing. So it is unsurprising that Snowpiercer, Bong Joon-ho‘s English-language debut, swings for the fences. It is initially grounded in a facile morality play about global warming, man’s persistently failed and hubristic attempts to play God, and the evils of science. There is more to it though. The ark-like train which is the movie’s stage and centerpiece, which circles the world carrying the survivors of a world frozen over, functions as an extended allegory for capitalist society, its economic inequality, its class structures and exploitation of the weak, its decadence and immorality, and its inevitable revolt of the oppressed, and their rise to the top (or the front).
But Snowpiercer is more intellectually ambitious than that. It also to aims to be an allegory that flirts with God, the Universe, Free Will, Evil, Freedom and Existential Choice. It offers us commentary on ideology and false consciousness and propaganda; it shows us how man may be tempted by evil and can choose moral redemption instead. The structure of the train and the progressively enlightening journey of the rear passengers through its various compartments suggest too that Dante’s Inferno and the Pilgrim’s Progress could be invoked here with some ease. (Ironically, for an allegory, Snowpiercer is sometimes a little too literal and heavy-handed. Yes, man, with all his cunning and scheming, can play the part of a devious God, and God may just be our notion of human powers and goodness and judgment extrapolated to an unimaginable extreme, but these theses can be advanced with a little more subtlety than Snowpiercer allows.)
Snowpiercer‘s grand ambitions are sometimes realized and sometimes not. Mostly they are not realized because Snowpiercer spends a little too much time trying to be an action movie. Its showings off of technical virtuosity, its nods to the video game and martial arts genres with their extended bloodiness, their glorying in gore, their stylized slow-motion combat, are distractions and deceits. (This action initially provides a possibly invigorating jolt to the movie’s plot, but all too soon it becomes tedious, deadening, and in the movie’s closing stages it is a distraction.) There is much in the movie that is visually interesting and provocative, much that should have been allowed to come to rest in the viewer for to facilitate reflection and introspection. But this does not happen, largely because the movie believes that some rather archaic cinematic tropes–physical conflict rages elsewhere while two protagonists engage in philosophical debate!–must be relied on to in order to build and generate tension.
All too often, I find myself describing science-fiction movies as missed opportunities. This is one such.