A Communique from Zombieland

Zombieland (2009) is, suffice to say, not a family film; but I was struck by its surprising moral undercurrent. In the last ten years or so, the idea of zombie hordes overrunning the planet has achieved greater cultural interest in North America. The numerous films, varying in budget, have captured the imagination of especially teenagers and twenty somethings. I can't give you any great stats to back up this claim, its just something I've been noticing over the years and I am willing to bet you have too...if you at all have any interest in the horrific idea of undead zombie hordes devouring the living; and not just in film.

In fact, some books have detailed with meticulous interest and disturbing, albeit fictional, hypothetical accuracy, tongue in cheek scenarios for survival ("Zombie Survival Guide") and worldwide catastrophe ("World War Z"). Marvel Comics has released zombie themed issues, and Jane Austen's (1775-1817) Pride and Prejudice (1813) has been parodied in Pride and Prejudice and Zombies (2009).

I'm not sure about this next claim, but it would seem to me that zombification of the entire world is being given far more careful attention, detail and marketing than the classic 'B' movies of yesteryear. Maybe you horror buffs can correct me if I'm wrong.

Zombie films I have seen have a strong moral (or rather amoral) undertone. A world overrun by zombies is a world that has totally lost its "humanity". Nobody is innocent, nothing is sacred, survival is everything. The moral dilemmas presented by wasting zombies who were formerly family members or those commonly regarded as "the innocent" of society is frequently an issue; (as well as an excuse to create some dramatic tension).

Ironically, the greatest threat to survival comes not from the zombie hordes, but from the fellow living. (SPOILERS AHEAD) George A Romero's Dawn of the Dead (1978) illustrates this by the scavenging gang of thugs which finally dismantle the relative safety and comfort of survivors holed up in a shopping mall. In Zombieland, betrayal is commonplace, though the zombies themselves pose marginal threat themselves to intelligent and sensibly cautious wanderers.

Concurrently, both films contain radical critiques of the stupidity and emptiness of material culture. Woody Harrelson's character craves a Twinkie snack cake but in a world of endless material goods he is willing to smash anything to curb his frustrations. In "Dawn of the Dead" the zombies putter stupidly around the mall doing as they had done as the living. What results is a thinly veiled but powerful critique of consumerism. In a world of survival, the stuff of great worth is utterly devalued and rendered comically meaningless.

The zombie phenomenon is worth great cultural examination: it is a symbol of the current 20th-21st century post-modern wasteland in which we live. It is the nihilism after the great failure of secular existentialism to re-value all values. It's cynicism is the bitter but sober and truthful disbelief of the humanist hucksters who would sell us false bases for our, or nature's supposed intrinsic worth.

The zombie wasteland takes no prisoners. There is no rank, no wealth, no great hero, but simply a tragic-comical waste of human life and existence combined with wanton bloodshed. The shotgun and chainsaw become the weapons of a generation frustrated, bored and only too eager to take up arms to a worthy cause- so long as it is not classified as murder (killing the living).

But zombie films are also about re-discovery - and redemption. In "Zombieland", "28 Days Later" (2002) and "Dawn of the Dead" we see people banding together. In a world that no longer has the blind optimism of modernism, but has seen the ugliness of blind postmodernism, human relationships and the spiritual moral law seem to pop up with new strength. One can bury the dead, but one can't bury what isn't dead. What isn't dead is the human spirit, absolute moral law and the drive to selfless deeds. Where "Columbus" in Zombieland formerly had a personal survival law to "Don't be a hero" he realizes that to save the emo-hot chick and forsake his "World of Warcraft" dominated life, he must adapt and overcome, he must "Be a hero". Where formerly the party knew only cutthroat cold indifference, they learned to band together as family.

No zombie film I know ends with a perfect fairy tale ending, there is one bloody awful mess left in the wake of the metaphorical "disaster" (postmodern death, nuclear annihilation, new world order etc.). This is an ugly world. It is bloody, it is sexually perverse and violating, it is horrific, and full of demonic threats.

The hard but necessary realization? We have done it. The good news? Not even the age of "non-supernatural" zombies (zombies resulting from viruses or some even more ridiculous nonsense than the occult explanation) can eradicate the supernatural order underlying all things.

The message is, don't let yourself be found as the walking dead; in the words made famous by one zombie smasher, "Hail to the King baby."