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Archive for September 7th, 2010

Overthinking A Plate Of Brains

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I have written about zombies and velocity before but I haven’t written as much as Christopher Thorne. He’s just published ‘The Running Of The Dead’, a 9,000 word essay on the political philosophy of Danny Boyle’s 28 Days Later, Zack Synder’s Dawn Of The Dead and fast zombies. Admittedly, the first 2,000 words of this essay is a rather sloppy introduction to Hobbes but then we get to his moment of epiphany after watching Synder’s remake of George A Romero’s 1978 classic:

I was completely wrong. It turns out that up-shifting the zombies from slow to fast changes everything; it entirely re-frames the zombie movie as a genre. I find this utterly fascinating. It seems like a small change, little more than a tweak, like defragmenting your hard drive. And it leaves nothing untouched.

To condense his argument absurdly: slow zombies are about the fear of the state and society whereas fast zombies are about fear of the absence of the state and society (hence Hobbes). Over the final half of the essay, Thorne then contends that 28 Days Later deliberately subverts this:

the movie that for all intents and purposes created fast zombies, was already the movie that demystified them. The subgenre stands permanently indicted by its own author and source. Boyle’s movie is not the progenitor to [REC] and Quarantine and the Dawn remake and Justin Cronin’s vampire-zombie novel The Passage; it is their accuser, the one that calls them out on their despotism and aufgehobener race-hate.

It is an enjoyable if strained and rather hasty essay. (Via MetaFilter which has additional discussion.)

Written by Martin

7 September 2010 at 16:12

Posted in criticism, films

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‘Johnny Mnemonic’ (1981) Vs Johnny Mnemonic (1995)

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This is the opening paragraph of ‘Johnny Mnemonic’ by William Gibson:

I put the shotgun in an Adidas bag and padded it out with four pairs of tennis socks, not my style at all, but that was what I was aiming for. If they think your crude, go technical; if they think you’re technical, go crude. I’m a very technical boy. So I decided to get as crude as possible. These days, though, you have to be pretty technical before you can even aspire to crudeness. I’d had to turn both those twelve-gauge shells from brass stock, on a lathe, and then load them myelf; I’d had to dig up an old microfiche with instructions for hand-loading cartridges; I’d had to build a lever-action press to seat the primers – all very tricky. But I knew they’d work.

And this is the opening text from Johnny Mnemonic, adapted by Gibson himself and directed by Robert Longo:

Second decade of the 21st Century.
Corporations rule.
The world is threatened by a new plague: NAS
Nerve Attentuation Syndrome, fatal, epidemic, its cause and cure are unknown.
The corporations are opposed by the Lo Teks, a resistance movement risen from the streets: hackers, data-pirates, guerilla fighters in the Info Wars.
The corporations defend themselves.
They hire the Yakuza, the most powerful of all crime syndicates.
They sheath their data in black ice, lethal viruses waiting to burn the brains of intruders.
But the Lo Teks wait in their strongholds, in the old city cores, like rats in the walls of the world.
The most valuable information must sometimes be entrusted to mnemonic couriers, elite agents who smuggle data in wet-wired brain implants.

That is quite a contrast. With Gibson’s original story, the game is afoot. Initially we know very little; we don’t know who the narrator is or where or when the story is set. But we can tease things out. We know the story is concerned with technology, we know it is important not just how things are constructed but how they are marketed (“Adidas bag”), we know the story is set in a world where a shotgun is arcane. We know violence is planned, we know our protagonist is smart, we know the world is hard. The whole techno-noir tone of the story is set by a single brilliant line: “If they think your crude, go technical; if they think you’re technical, go crude.”

The film, on the the other hand, takes the PowerPoint approach to narrative. Here is fact one, here is fact two. There is a nice, accidental poetry to “like rats in the walls of the world” but otherwise is composed of perfunctory sentence fragments. Before the the film has begun, it has already given the audience the information needed to dismiss it. Scrolling introductory text is never needed in a film: it assumes the audience are stupid; it usually indicates fundamental flaws later on in the film that should have been addressed at source; if a wodge of exposition really is required, a voiceover is always better. This example is particularly egregious because none of the information is actually necessary and the viewer is likely to end up more confused, not less.

I should say that I highly doubt Gibson had any hand in writing that introduction, it smells like the product of an anonymous studio hack. This is Gibson commenting on the film in a 1998 interview:

Basically what happened was it was taken away and re-cut by the American distributor in the last month of its prerelease life, and it went from being a very funny, very alternative piece of work to being something that had been very unsuccessfully chopped and cut into something more mainstream.

There is a huge sense of squandered potential to Johnny Mnemonic; Longo is an acclaimed visual artist – this was his first and last feature film – and Gibson is William freakin’ Gibson. It could have really been something. Wired organised a fascinating conversation between the two prior to the release of the film which features this depressing exchange:

Gibson: That meeting we had yesterday, though, with some of the studio hotshots – I came away from it with the feeling that there were people there who clearly didn’t get it. Who still didn’t have any sort of a clue about what we had been doing all this time.

Longo: Ha! We did a good job! They gave us $30 million and we gave them a movie they can’t understand. All riiighht! [Laughs.] It’s interesting that this started out as an arty 1 1/2-million-dollar movie, and it became a 30-million-dollar movie because we couldn’t get a million and a half.

The joke was on them.

Written by Martin

7 September 2010 at 11:36