Review: “Snowpiercer” – Audacious, Relevant, Poignant

There are fundamental differences between the long anticipated Snowpiercer television show and its cinematic counterpart. Some might consider the former to lack backbone or narrative punch, but apart from some basic DNA they are completely different animals. Bong Joon-Ho’s cult classic is a masterclass in production design, cinematic homage and sustained suspense with an outstanding cast. What Netflix and Warner Media have produced is something with staying power, depth and time to address contemporary issues simply not possible without an intermission.

That it has taken seven years for this film to get a UK release is beyond belief. With a freshly minted Chris Evans, revered character actors John Hurt, Jamie Bell and Tilda Swinton not to mention Ed Harris Snowpiercer remains an anomaly. Released in 2013 to international acclaim it touches on climate change issues, sustainability and class division before throwing in some enjoyable Kubrick references for good measure. This was the film which showed Evans possessed staying power beyond Steve Rodgers, while Hurt, Swinton and Bell provide strong support.

Production designer Ondrej Nekvasil breathes life into this cast iron ecosystem through colour, texture and material choice. Two storeys high and seventeen kilometres long this microcosm of humanity is clearly defined as we advance through the train cars. A perfect balance of plenty and poverty in a snapshot of sustainable natural selection, administered with single minded ferocity. From sushi bar to sea life this is the cinematic equivalent of field to fork, while order, discipline and structure speak to issues of population control.

Beyond those action beats and inspired set pieces there is a social conscience, which carefully balances arthouse inclinations with mainstream desires. For fans of Bong Joon-Ho this should come as no surprise as his other works also seek to educate and inform. After Parasite he maybe the toast of Hollywood, but with Snowpiercer and Okja, Bong made his intentions quite clear beforehand.

For lovers of Korean cinema Snowpiercer should be a mandatory purchase as it remains visually audacious, socially relevant and emotional poignant without being mawkish. The latter half might be a shameless Kubrick love in but there are subtler things at work beyond the A Clockwork Orange references. Evans is carved out of granite, Swinton is a marvel of facial tics and Hurt provides gravitas without breaking sweat. Now all we have to do is wait for the Parasite television show which is currently in development over at HBO with Mark Ruffalo attached.