Have you ever heard of the outlandish film theory that connects Snowpiercer to Roald Dahl's 'Charlie and the Chocolate Factory'? More specifically, the beloved 1971 film adaptation with Gene Wilder. It's one of the most absurd, but absolutely fantastic pieces of pop culture fandom I've ever come across; and it's all thanks to Youtuber Luke Palmer from the Rhino Stew channel. It actually made me fall in love with this film all over again, in a totally unexpected new way. You can easily find it with a quick Google, so I won't steal his thunder - but I strongly suggest looking for it (after you've watched Snowpiercer, of course).
In 1982, writer Jacques Lob and French painter Jean-Marc Rochette created the graphic novel 'Le Transperceneige', translated and re-published in English under the title 'Snowpiercer'. Taking place in the aftermath of a natural disaster that brings rise to a new Ice Age, the story follows a group of characters living within the confines of a train housing the last survivors of humanity. It follows the core elements of the book, but where Lob and Rochette steered toward the subject matter of environmentalism, Director Bong Joon-Ho looked at classism and elitism.
Joon-Ho's contributions to the cinema landscape may have largely gone under the radar for too long - but I'm happy to do my bit in changing that fact. There's almost no way you haven't heard of him at this point, especially after winning multiple Academy Award categories for Parasite last year. But what you may not have heard of are some of his earlier projects. I've mentioned my unfailing passion for the horror genre and Joon-Ho's 2006 'The Host' was my introduction to him. He wields a seemingly fever-dream fueled imagination and the unconventional aesthetics on display work beautifully with his dark humour and eye for detail.
Joon-Ho's ability to transition from one mood to the next is never jarring but it's always perceivable if you're aware in the moment. Snowpierecer does this brilliantly as the main protagonist ascends to his goal, with the colour palette and rhythmic pacing unfolding in tandem to gradually reveal the narrative's ultimate conclusion. The Host, Parasite and Snowpiercer all serve as incredible examples of balancing multiple genres within one story, but it's 2003's Memories Of Murder that holds the most special of places in my heart.
While still managing to connect moments with subtle changes, the film conveys the same prominent themes we experience in Snowpiercer. Sentimentally, the two tragedies look at order and disorder, both from the perspective of their vulnerable leads. Once the wheels are in motion (no pun intended), there's an epiphany that conflict is unequivocal and the players in this game are drawn like Pawns facing Bishops and Queens. But the uphill battle never feels lost in meaning, even if the stakes are confusingly unapparent to the characters at large.
In 1982, writer Jacques Lob and French painter Jean-Marc Rochette created the graphic novel 'Le Transperceneige', translated and re-published in English under the title 'Snowpiercer'. Taking place in the aftermath of a natural disaster that brings rise to a new Ice Age, the story follows a group of characters living within the confines of a train housing the last survivors of humanity. It follows the core elements of the book, but where Lob and Rochette steered toward the subject matter of environmentalism, Director Bong Joon-Ho looked at classism and elitism.
Joon-Ho's contributions to the cinema landscape may have largely gone under the radar for too long - but I'm happy to do my bit in changing that fact. There's almost no way you haven't heard of him at this point, especially after winning multiple Academy Award categories for Parasite last year. But what you may not have heard of are some of his earlier projects. I've mentioned my unfailing passion for the horror genre and Joon-Ho's 2006 'The Host' was my introduction to him. He wields a seemingly fever-dream fueled imagination and the unconventional aesthetics on display work beautifully with his dark humour and eye for detail.
Joon-Ho's ability to transition from one mood to the next is never jarring but it's always perceivable if you're aware in the moment. Snowpierecer does this brilliantly as the main protagonist ascends to his goal, with the colour palette and rhythmic pacing unfolding in tandem to gradually reveal the narrative's ultimate conclusion. The Host, Parasite and Snowpiercer all serve as incredible examples of balancing multiple genres within one story, but it's 2003's Memories Of Murder that holds the most special of places in my heart.
While still managing to connect moments with subtle changes, the film conveys the same prominent themes we experience in Snowpiercer. Sentimentally, the two tragedies look at order and disorder, both from the perspective of their vulnerable leads. Once the wheels are in motion (no pun intended), there's an epiphany that conflict is unequivocal and the players in this game are drawn like Pawns facing Bishops and Queens. But the uphill battle never feels lost in meaning, even if the stakes are confusingly unapparent to the characters at large.
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