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Based on the Tony Burgess novel Pontypool Changes Everything, the film Pontypool is a strange take on the zombie apocalypse narrative. Instead of a conventional contagion, the cause of the outbreak is a virus of language itself, with the English language and terms of endearment designated as especially dangerous. The afflicted begin to repeat words and nonsensical phrases before attacking and cannibalizing others. A doctor terms the disease Acquired Metastructural Pediculosis, and determines that the infection is caused by not merely hearing the infected words, but by speaking them and fully understanding their meaning. He also states that if the disease is left unchecked, it could threaten the fabric of reality itself. This would imply that language creates reality and not the other way around. While the doctor never explains this fully, it seems that some familiarity with semiotics and postmodern theory is useful when watching this film.
The strangeness of the film’s concept nearly overshadows the great performances by Stephen McHattie and Lisa Houle, respectively portraying ex-“shock jock” morning show DJ Grant Mazzy and his producer Sidney Briar. The radio show format is perfect for a story about language and understanding. There is very little on-screen violence and gore. Instead, most of the “action” is narrated to us by Mazzy and other radio personalities, based on briefings from law enforcement and calls from panicked citizens.
It had been several years since I first watched Pontypool, and have just now begun reading the novel, which is even weirder. Burgess uses a writing style that resembles the language of the infected, or the language of the cure as presented in the film adaptation. It’s also worth noting that Burgess himself adapted the novel to a screenplay. Pontypool Changes Everything is part of a loose trilogy of Burgess novels, also including The Hellmouths of Bewdley and Caesarea, available as a one-volume set The Bewdley Mayhem.
Scoring only 3.5 out of 10 stars on IMDb and 11% fresh on Rotten Tomatoes, the 1993 Jurassic Park knock-off Carnosaur (directed by Adam Simon and produced by Roger Corman) doesn’t get a lot of love. Technically, it isn’t a knock-off, as it’s loosely based on a 1984 novel by John Brosnan (a.k.a. Harry Adam Knight), which itself predates Crichton’s novel. But the timing of the film’s release was certainly meant to cash in on the success of Jurassic Park, and even adds an additional callback by casting Diane Ladd, mother of Jurassic Park‘s Laura Dern, as a mad scientist.
Carnosaur doesn’t boast the then-cutting edge special effects of Jurassic Park. In fact, the dinosaurs are overly rubbery and the film as a whole is incredibly low budget, but in other respects, Carnosaur is the weirder, gorier, and more tantalizing of the two films.
Let me explain.
Despite Jeff Goldbloom’s character in Jurassic Park being quite delicious as the resident pessimist, like all Spielberg movies, the entire film is very much Up With People in its outlook. It’s comfortably anthropocentric, with dinosaurs being genetically engineered for the sole purpose of humans’ entertainment and corporate profit. Of course things go badly, but order is ultimately restored with humanity reasserting itself as the dominant species.
Carnosaur also has a plot involving the creation of genetically engineered dinosaurs, but with a twisted motive. Dr. Jane Tiptree (portrayed by Diane Ladd) is a female mad scientist (a rarity in horror films), who has a strange plan to save the earth. She has created and introduced a food-borne virus into poultry products that recodes human DNA in such a way as to cause women to give birth to dinosaurs, killing the female host and thereby preventing the human race from reproducing. Dr. Tiptree wants humans to become extinct and to “give the earth back to the dinosaurs.” This is an absurd, even arguably idiotic apocalypse scenario. What makes it effective is Dr. Tiptree’s misanthropic philosophy.
Carnosaur isn’t the first film to depict and apocalypse in which humanity is supplanted by another species. Better-known and more popular examples include Invasion of the Body Snatchers (and its remakes) and John Carpenter’s The Thing. Those films depicted a quiet alien invasion in which the alien species can imitate other life-forms. They didn’t celebrate the extinction of the human race. Carnosaur is nastier by virtue of Jane Tiptree acting as a species-traitor who promotes misanthropic and anti-natalist perspectives, viewing humans as nothing but a “set of instructions for the reproduction of the species.”
She explains her reasoning: “Just imagine. An ugly cancerous grey planet littered with the dying remnants of biological life as we know it. I actively worked on that in industry and in government. The earth isn’t ours to destroy…I don’t want to end the world, just one unruly species…The human being is the WORST. The human species is a disaster.” Tiptree’s radical solution to save the earth and the environment even includes her own extermination after serving as a vessel for her new breed of dinosaurs. The end of the film is ambiguous. The hero obtains the serum needed to reverse the effects of the virus, but he may be too late to save the high percentage of people infected.
While most people associate the New Year with new beginnings and seek to fully embrace life’s possibilities, we here at My Horrific Life are celebrating the eventual end of the human race, which may come sooner than we think. We won’t discriminate about the means to this end, as we delve into all manner of fictional, religious, and theoretical possibilities, including Biblically-inspired narratives, disease, nuclear war, climate change, zombie hordes, linguistic viruses, alien invasions, and a takeover by Lovecraft’s elder gods.
Stay tuned for reviews of apocalyptic and post-apocalyptic film and fiction, including a spotlight of John Carpenter’s so-called “apocalypse trilogy.”