Martin Carr reviews the first episode of Snowpiercer…
Based on the feature film adaptation by Boon Joon Ho and Kelly Masterson, Snowpiercer comes to screens following a protracted gestation period. Using elements from Le Transperceneige written by Jacques Lob, Jean-Marc Rochette and Benjamin Legrand it is a post-apocalyptic tale of class division, civil unrest and mutinous ascension. Developed for television by Josh Friedman and Graeme Manson this show picks up seven years after the film and introduces long term themes very quickly.
With the aid of an inspired opening which mixes live-action with graphic novel touchstones we witness conflict, desperation and train car clashes. Riot armour is rife, heavy artillery in abundance and batons come down on the multitudes fighting to survive. Blizzards blow, close ups imbue claustrophobia and fear is registered through the eyes of an innocent. Baggage car architecture, confined spaces and darkness prevail while bodies pile up. Blood is graphically spilt and director James Hawes delivers his statement with intent.
This visceral information overload is then prolonged through some inspired opening credits which subliminally give audiences more elements to process. Filled to bursting with concise bullet points of plot information this sets up character, whilst providing a visual introduction to the train through essential voice over. Meanwhile Jennifer Connelly and Daveed Diggs garner decent screen time giving them context and establishing their characters with economy.
Moments from the film are pilfered, reworked and used as jumping off points to kick start basic plot devices, which visually open up other areas for exploration. Production design is polished and seamlessly divides different areas through deliberate material choices and ever evolving environments. Visual effects are showcased in the stunning opening sequence while exterior shots elegantly render a desolate landscape of ice plateaus, mountain ranges and frozen skyscrapers.
Class divides are only touched on in this opener through clothing, food stuffs and access to natural light. In the tail their close proximity promotes strength, community and team work while elsewhere wealth keeps everyone at a distance. Director James Hawes visually communicates an ecosystem of abundance based on balance and priority. Moments of architectural beauty and musical contrast illustrate a cultural void perpetuated by point of view, rather than material gain.
Surrounded by such a strong ensemble of bit part players Daveed Diggs familiar to some from the stage show Hamilton, does well defining Andre Layton. Connelly approaches things from another angle preferring restraint and repression over anything more obvious. Other stand outs include Alison Wright’s Ruth who fills the iconic shoes of Tilda Swinton, in a role which mirrors hers in accent if not in action.
Consisting of over a thousand cars and being ten miles in length there is a sense that we have yet to scratch the surface here. It gives showrunners innumerable options for storytelling within an environment of infinite interest. With season two in production and Sean Bean confirmed amongst the cast, Snowpiercer is looking like a long term proposition. Based on this audacious opener TNT have spared no expense in bringing to life something with breadth and imagination, which will keep running as long as there is track to spare.
Martin Carr
