#adnonhaskovic

People have been telling me for years to watch Snowpiercer.  With its dystopian sci-fi setting, ‘used future’ aesthetic and the litany of film-canon conspiracy theories that have arisen surrounding it, I’ve had it on my ‘to-view’ list for quite some time.  After seeing the stunning Parasite, however, the need to see this film become more apparent, and with Netflix having a track record of disappearing films before I get around to them, it seemed there was no time like the present to dive in.

In hopes of curbing a global catastrophe threatening to destroy the Earth in 2014, a mysterious substance known as CW7 into the atmosphere.  Unfortunately, the substance put the world in a seemingly permanent state of deep freeze, with the only survivors found aboard an extremely long, non-stopping train known as the Snowpiercer, created by a man known as Wilford (Ed Harris).  Those with wealth and privilege reside in the lavish front cars, while a large portion of disadvantaged passengers survive in the tail cars.  Curtis (Chris Evans), a member of the tail car population, along with the help of confidant and advisor Gilliam (John Hurt) and best friend Edgar (Jamie Bell) begin to formulate a plan to revolt and overtake the front cars.  Tensions reach a breaking point when Claude (Emma Levie), a lackey for Wilford, takes the children of Tanya (Octavia Spencer) and other tail residents, and Minister Mason (Tilda Swinton) punishes tail resident Andrew (Ewen Bremner) for standing up in protest.  Fed up with being treated less than human, Curtis and the residents of the tail car seize a moment to advance forward in an attempt to take over the Snowpiercer, and after rescuing Namgoong Minsoo (Kang-ho Song), a man notorious for his skill in opening locks and designing the gates that seperate the cars, and his intuitive sidekick Yona (Ko Asung), the group proceeds towards the engine.  As they get closer to the front cars, the group is rocked by a combination of defensive maneuvers and mind-blowing information connected to their circumstances that changes their lives forever.

Snowpiercer is an extremely stylized observation on classicism in the face of environmental issues, dwindling resources and land becoming uninhabitable due to these reasons.  The ecosystem of the world on the train becomes an extreme one, where race and culture are basically eliminated, and people fall into the two extreme classifications of rich and poor.  One interesting detail I noticed was how the poor make attempts to hold on to an assemblance of power by documenting the past and present... it echoes how, if left unchecked, history will always be written by the victors.  This film, despite its stylized science-fiction presentation, does not shy away from showing the costs of environmental issues that mirror those in the real world, as well as the cost of revolution, which tends to be glorified in film.

The idea of scarcity plays a major part in the narrative, as the possibility of limited common resources, food, water, and event bullets and cigarettes become major factor that influence huge decisions.  The scarcity also trickles down to human resources, as the poor are viewed as a commodity to the rich more so than a lesser class of human.  The limited resources fall into a similar split as the ‘class structure’, with dirty and inhuman resources appointed to the poor while clean and extravagance are saved for the rich and advantaged, making items like clean water a more valuable commodity than money.  The desperate times presented become host for desperate measures from both sides, as the actions of the poor and their revolt are offset by the drastic, underhanded tactics implemented by the rich.  On top of everything, the Snowpiercer itself not only serves as protection from the exterior wasteland, it is literally a rolling attempt to protect the original ecosystem, in hopes of possibly restoring life to the way it was. 

The cramped locations inside the train, even in the fancier parts, are designed for visual and emotional stimulation, and the lack of space parallels how the Snowpiercer never stops moving in order to avoid the danger of what was originally relief from their current confinement.  The gritty costuming and set design really pop as the group moves closer to the front of the train, very similar to how the extremely frenetic action scenes offset the methodical nature of how the poor make their forward advancement.  Touches of crude and practical technology are sprinkled throughout, with much of it being familiar to a bygone era, even (again) in the fancier spaces.  Bong Joon-ho is clearly not afraid to get up close and personal, letting the film get its hands dirty when it is appropriate to really add to the film’s emotional weight.  Ultimately, Snowpiercer is a nuanced, cautionary tale on preparing for the irreparable damage humans have already collectively done to the Earth’s ecosystem. 

Chris Evans shows as much of his range as an actor is capable of, switching effortlessly between calculated, action-driven, intimidation and emotionally centered performances... almost as if he is living in the world of the film rather than acting.  Song Kang-ho gives the appearance of letting madness and mania drive his performance, and his payoff moments hit that much harder because of this.  Ed Harris captures the mood and attitude of the unaffected... those advantaged enough to be able to separate themselves from the issues that impact the rest of us (and at times, the issues they themselves have created), complete with mind games.  John Hurt embodies the essence of the wise sage, slowly and methodically grooming the Curtis character into the tool needed to exact the master plan.  Tilda Swinton and her natural gift for total embodiment of strange personas is yet again put on full display, with her ability to ground even the most outrageous characters in reality being used to maximum potential.  Jamie Bell brings the energy of those wanting immediate change without weighing the potential risk and outcomes of their actions.  Octavia Spencer shows how nature  and human desire will remain, even in the face of extreme circumstances and obstacles.  Go Ah-sung balances well against Song Kang-ho, as her quirky and eccentric performance balances both against her natural abilities and Kang-ho’s offbeat mannerisms.  Ewen Bremner, Alison Pill, Vlad Ivanov, Luke Paqualino, Adnon Haskovic, Clark Middleton, Emma Levie, Tomas Lemarquis, Steve Park and Paul Lazar also stand out in the massive cast.