Snowpiercer (Joon-ho Bong, 2013). Has a little of everything, but surprises along the way. It’s a near-future dystopia, it’s an action adventure set on a train, it’s a caustic screed against the 1%, it has black humor and violence, and it’s the first American film from Korean director Joon-ho Bong. The violence will scare some people away, and others might be scared away by the trailers, which emphasize the grimy look of much of the film. It owes much to Brazil, a movie I didn’t much like. It also reminded me of Michael Radford’s film of 1984, although it’s been awhile since I’ve seen that one (as I recall, I liked it). The various compartments on the train each had its own décor, which was nicely done, and if the condemnation of the 1% was a bit simplistic, well, so what, I was glad it was there. If you are looking for an introduction to the wonders of modern Korean cinema, this isn’t the place to start ... it’s more American than Korean. But it is also more successful than the movies of many other Asian directors in the U.S. ... John Woo had his hand in more than half-a-dozen U.S. films, and only one (Face/Off) came close to the level of Snowpiercer. (Of course, Woo also made many HK and Chinese movies that are better than Face/Off or Snowpiercer.) #510 on the They Shoot Pictures, Don’t They list of the top 1000 films of the 21st century. 8/10. Check out 2009’s Mother for a different side of Bong.
Since there is only one film on the list for this week, I’ll take this space to expand a bit on one aspect of Snowpiercer that it shares with some other movies. I write these short, one-paragraph reviews, knowing that in most cases, the movies in question deserve a lot more space. I try to address things that caught my attention, while also avoiding spoilers when possible, which in itself is a limiting move. [What follows includes spoilers.] In the case of movies like Snowpiercer, I don’t think it would be useful to extend what I’ve written above. It’s worthy and complicated and there are a lot of talking points. But I fear I’d just resort to a check list. The construction of Snowpiercer is ingenious ... it’s also perfect for a good six-page essay in an honors class for college undergraduates. The class structure presented in the film is clearly delineated, and while you could watch Snowpiercer simply as an entertaining action movie, it is almost impossible to miss the underlying themes about class. That’s why it would make a good topic for an undergraduate essay: there is something to talk about, but it isn’t hard to find. It would also make a good topic for an extended essay that closely broke down the presentation of class, critically analyzing what Bong has done. But I’m not going to write either of these on this blog, not a six-page essay, not a chapter for a book. I’m going to write a paragraph, or two or three. And in the case of Snowpiercer, once I’ve mentioned the basics, I don’t see the point in adding a paragraph to state the obvious: that the cars on the train represent various social classes, that even if the nominal hero manages to take the train away from the nominal villain, nothing concerning classes will have been truly answered, that the two young people who escape the train are the future because they don’t conquer the train, they escape it. I could say all that, but if you watch the movie, you’ll figure it out for yourself. And unless I’m prepared to write 2500 words on the subject, I’m better off just sticking to a paragraph.