Dante's Inferno: A horror movie brings out the zombie vote to protest Bush's war
by Dennis Lim
"This is a horror story because most of the characters are Republicans," director Joe Dante announced before the November 13 world premiere of his latest movie, Homecoming, at the Turin Film Festival. Republicans, as it happens, will be the ones who find Homecoming's agitprop premise scariest: In an election year, dead veterans of the current conflict crawl out of their graves and stagger single-mindedly to voting booths so they can eject the president who sent them to fight a war sold on "horseshit and elbow grease."
The dizzying high point of Showtime's new Masters of Horror series, the hour-long Homecoming (which premieres December 2) is easily one of the most important political films of the Bush II era. With its only slightly caricatured right-wingers, the film nails the casual fraudulence and contortionist rhetoric that are the signatures of the Bush-Cheney administration. Its dutiful hero, presidential consultant David Murch (Jon Tenney), reports to a Karl Rove–like guru named Kurt Rand (Robert Picardo) and engages in kinky power fucks with attack-bitch pundit Jane Cleaver (Thea Gill), a blonde, leggy Ann Coulter proxy with a "No Sex for All" tank top and "BSH BABE" license plates. Murch's glib, duplicitous condescension is apparently what triggers the zombie uprising: Confronting an angry mother of a dead soldier on a news talk show, he tells this Cindy Sheehan figure, "If I had one wish . . . I would wish for your son to come back," so he could assure the country of the importance of the war. The boy does return, along with legions of fallen combatants, and they all beg to differ.
How fitting that the most pungent artistic response to a regime famed for its crass fear-mongering would be a cheap horror movie. Jaw-dropping in its sheer directness, Homecoming is a righteous blast of liberal-left fury (it was greeted with a five-minute ovation in Turin, the most vocal appreciation seeming to come from the American filmmakers and writers in attendance).
At once galvanic and cathartic, Dante's film uncorks the rage that despondent progressives promptly suppressed after last year's election and that has only recently been allowed to color mainstream coverage of presidential untruths and debacles. For all its broad, bludgeoning satire, Homecoming is deadly accurate in skewering the callousness and hypocrisy of the Bush White House and the spin industry in its orbit.
Zombie flicks, with their built-in return-of-the-repressed theme, have always served as allegories of their sociopolitical moments (as demonstrated mere months ago by George A. Romero's prescient pre-Katrina class-war nightmare, Land of the Dead). Dante, the Roger Corman protégé who went on to direct Innerspace and both Gremlins movies, has been known to embed wayward subversions in Hollywood genre pieces (he also previously attempted an all-out political satire in the 1997 HBO movie The Second Civil War, just out on DVD). But Homecoming, very much a movie on a mission, casts aside metaphor—it derives its power from its disconcerting literalness. The zombies do not represent—but are—the unseen costs of this futile war. Implicit in the film's unapologetic bluntness is a sickened urgency, an insistence that this is no time for subtlety.
"If you're going to code the message, which is the way horror movies have always done it, that's fine, but it's not going to reach an audience like a movie that's overt, and this is not exactly subtle," says Dante. "Somebody has to start making this kind of movie, this kind of statement. But everybody's afraid—it's uncommercial, people are going to be upset. Good, let them be upset. Why aren't people upset? Every minute, somebody's dying in this war, and for nothing. To establish
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Masters of Horror
Also of interest Inspector Lohmann's two-part analysis of the current cultural relevance of zombie imagery:
Part 1: Zombies
Part 2" Zombie Pedagogy