There is something that has always drawn me to movies that are set on trains. This unique setting boasts many themes that a screenwriter and director can play with. Not only does it lend itself to a claustrophobic place for a mystery thriller, but it also may symbolize the old world, romance or an epic journey. There is also the thinly veiled partition that separates class divisions (travel through a door and you may have plain economy style or lavish burled walnut compartments with sleek curtains where the richest of the rich relax).
One film that creates an original premise that follows past trendsetters such as Alfred Hitchcock (The Lady Vanishes, Strangers on a Train . . .), Carol Reed (Night Train to Munich), Terence Young (From Russia With Love), Sidney Lumet (Murder on the Orient Express), and Brad Anderson (Transiberian), to name but a few, is Joon Ho Bong’s 2013 post-apocalyptic action movie Snowpiercer.
After a failed climate-change experiment has left the world in a deep freeze, killing nearly everyone, the remaining survivors live aboard an ingeniously designed train called Snowpiercer. Mirroring all of human history, a class system emerges, though in this picture it feels heightened as the remaining proletariat live in filthy cramped spaces and are fed disgusting black gelatinous protein bars. They are also treated like dirt, as they are counted like cattle and when needed, their children are taken from them (for unknown reasons) by the wealthy elite who reside at the front of the train and follow the god-like train engineer Wilford (Ed Harris). When a message is given or punishment is to be doled out – Mason (Tilda Swinton), a female the soldiers call Sir, travels to the rear to voice Wilford’s almighty word. It is in this setting that Gilliam (John Hurt), the figure-head of the poor, and Curtis (Chris Evans), a strong man who should be their leader (though he is reluctant), plan a revolt. They must time their attack with precision, as they have to make it through three solid blast doors before they quickly shut. It is not the first time that a mutiny has arisen from the rear of the locomotive, but none of them have been successful.
Yet, this one starts off very well as they complete their first task and are able to rescue security expert, Namgoong Minsoo (Kang-ho Song) from within a morgue-like drawer. They wake him from a fugue-like state along with his clairvoyant daughter Yona (Ah-sung Ko). Curtis bribes the two with Kronole, a hallucinogen made from toxic substances, in order to convince them to open the doors.
Curtis leads the crew, which consists of his second in command, Edgar (Jamie Bell), Grey (Luke Pasqualino), Tanya (Octavia Spencer), Andrew (Ewen Bremner), as well as many other disgruntled individuals, while Gilliam follows in the rear. Tanya and Andrew have both had their sons taken from them – so they are especially driven to push forward.
They make their way towards the highly important water car, but are met by a menacing group of soldiers, masked and armed with axes. It seems like an impossible task, yet the impoverished men and woman force their way through the armed troops, losing many along the way; but, in the end, they capture Mason. They use her as a type of bargaining chip (and guide) as they travel through a plethora of carts. They are met by numerous obstacles as they make their way through the dizzying display of locales until a select few make it to the compartment just before the engine, which is where I will leave you to discover what happens.
One of the best visual aspects of this film are the compartments found within the train. It is a feast for the eyes as we watch the group make their way from the dark, dank and filthy rear carts into the elegant upper cars, which consist of a lush greenhouse, a gargantuan aquarium, a sushi bar, a propaganda-filled classroom, a swanky lounge, a state-of-the-art beauty salon, numerous swimming pools, a rave-like club as well as a number of other places. These sets help us understand this post-apocalyptic world, giving us perspective on the way the two very different classes live, how propaganda is used to control the travellers and just how bizarre life has become in this depiction of the year 2031.
There is also the excitingly eclectic group of character actors that can be found in Snowpiercer. Chris Evans proves once again why he has become a Marvel superstar and a bankable lead. Tilda Swinton is mesmerizing as the bizarre wordsmith who delivers Wilford’s message. Her look, mixed with peculiar movements and her propaganda-laced dialogue creates a performance that is utterly unique. Spencer and Bremner add an extra level of gravity to the already dire situation as parents pining for their respective stolen children. Harris and Hurt prove once again why they have enjoyed decades long careers, each making the most of their roles as opposing leaders. Allison Pill also has an interesting cameo as a teacher who spouts propaganda to her children.
Due to a dispute between the distributor and the director (over several things including editing the film down by twenty minutes), the movie never received a wide release, which it richly deserved – truly making it a ‘hidden gem’.
Snowpiercer takes many typical premises and spins them into a creative and unique movie that is unlike anything I have ever seen. Its confined locale lends perfectly to the stress of this post-apocalyptic tale, while director Joon Ho Bong uses his skill to create intense action scenes that feel in no way cheated by the enclosed spaces. As the film closes, we are left in a situation where we see both harrowing danger yet also some hope for the future, which typifies what we should find at the end of every dystopic picture – the ever-present struggles of humankind mixed with light at the end of the proverbial tunnel.