The
other night I inadvertently got drawn into watching a movie on SyFy, catching
snatches of it between sets of arm curls and shoulder presses. The opening scene showed people strolling in
Central Park, New York as an ominous breeze began stirring the trees and
shrubbery. Many of the pedestrians
froze, became inarticulate and clumsy, and then commenced killing themselves
with whatever means was available. This
looked promising, a sort of inverted Zombification, lacking the usual appalling
table manners, but every bit as disturbing as crowds of people were depicted
committing suicide en masse.
This
was M. Night Shyamalan’s 2008 film The
Happening—he wrote, produced and directed it—an interesting, though flawed
effort that was generally panned. One
critic described it as resembling Hitchcock’s The Birds (1963)—but without the birds. For his part, Shyamalan described his
intentions as “We’re making an excellent B movie, that’s our goal.” The film easily achieves this modest
objective. The Happening should not be confused with the 1967 counter-cultural
movie of the same name, although neurotoxins of one kind or another are
implicated in both films.
In Shyamalan’s
The Happening, people in various
cities of the northeast begin unaccountably killing themselves in large
numbers. As citizens evacuate the larger
cities, the mysterious plague follows them into the countryside. The film focuses on high school science teacher Elliot Moore, (played by
Mark Wahlberg) as he tries to keep his family together and shepherd a small
group of survivors away from the affected areas.
Various
theories explaining the origin of the strange malady are offered: it is some sort of bioterrorist attack, it
has something to do with emissions from nuclear power plants, it is an epidemic
of some unknown pathogen. The Happening uses the very familiar and
reliable device of occasional radio and television broadcasts to fill in
details about the extent of the plague; various “talking heads” opine on screen
about the nature of the disaster.
It
seems that whenever this device is used to fill in the back story, there is
never ever a commercial break. At any
time, beleaguered characters can snap on the TV or radio and get instant
updates and answers to their questions.
(Perhaps sometime a horror movie could effectively build suspense by
interposing endless inane advertisements to interrupt or forestall the bad news: “Something terrible is happening in Central
Park at this moment—and we’ll get back to this following the commercial break.”
Certainly this is done for actual disasters all the time, and so
would bring a degree of realism. But it
may be that this trope is fading; who needs to consult TV or radio for official
pronouncements anymore?)
Wahlberg’s
character, who occasionally intones the steps of the scientific method as if it
were a secular prayer, gradually pieces together the terrifying truth. Plant life—trees, grasses, shrubs,
houseplants and so forth—are emitting a specialized neurotoxin into the air
which drives human beings to kill themselves.
The presence of the neurotoxin is announced by a helpful and convenient
breeze that stirs the tops of trees and blades of grass as a prelude to mayhem
and carnage. The onset of symptoms is
immediate: a visible neurological impairment that includes slurred, incoherent,
repetitive speech, awkward gait, and a sudden preoccupation with taking one’s
life with whatever means are at hand. It
seems that botany and meteorology are in cahoots to wipe out the human race, or
at least seriously reduce its numbers.
(This
was a disappointment to me; I had hoped that the calamity was extraterrestrial
in origin. It is so typical of alien invaders
to take over the minds of hapless humans—like communists, and lately,
capitalists as well—and contrive to have them do harm to one another or
themselves in the service of some larger conspiracy.)
The
high school science teacher and his comrades are helpless in the face of an
ecology that has turned against them. They
can only flee as their numbers dwindle and their zone of safety shrinks. Initially the survivors believe that if they
divide into smaller groups they will be less likely to irritate the local
vegetation—the implication being that mankind should revert to its prehistoric
lifestyle as small bands of foraging wanderers.
But this hypothesis soon proves to be false. One message of the film is that Nature is
unpredictable and ultimately incomprehensible.
A hundred years ago, the message might have been much more
sectarian: a vengeful God is unpredictable and ultimately
incomprehensible.
Given
all the inexplicable, apocalyptic crowd scenes of mass suicide, it is striking
that there is no invocation of religious notions of the end of the world,
except for a few “oh my Gods”, “Mother of Gods”, and an occasional “Mon Dieu”, (when
the plague makes an appearance on the streets of Paris near the end of the film). In most disaster movies up until the late
1960s and early 1970s there was usually a cameo of someone calling on the
terrified crowds to repent for the end was near. In a work of literature and film it is often
interesting to note what is not
present, what is unexpectedly missing.
There
is however an effectively creepy scene near the end of the film, when Wahlberg’s
character, his wife and a young girl find shelter in an old madwoman’s remote
cottage. Crucifixes adorn nearly every
room, and the woman seems to be channeling an angry, deranged Mother Nature.
In the end,
the mysterious plague suddenly disappears, and a chastened, reduced population
returns to its homes. A scientist on the
television reassures the city’s survivors that they are safe for the moment,
but that the event could happen again—the subtext being “unless we repent and
change our ways.” We are encouraged to
see The Happening as a warning. To paraphrase Jonathon Edwards in this
context: “We are sinners in the hands of
an angry Ecosystem.”
As a
fan of pulp science fiction, I was struck by the similarities of this film with
certain conventions of the genre worked out nearly a century ago. There is just a smidgen of science on which
to base the premise of the story: plants
do indeed appear to evolve toxins as a kind of armament to deter animals that
might eat them, or to allow them to compete more effectively against other plant
species. There also seems to be a kind
of communication between different plant species that live close together in
the wild, suggesting a kind of cooperation or accommodation. But it is highly unlikely that trees and
grasses in a city park would suddenly conspire to exterminate urban dwellers
out to enjoy a bit of nature, much less to have the wind at their command.
As in
early pulp science fiction and horror, one sees respect for science as an
authority—hence the need for “talking heads” in mass media, but also
impatience. A pseudo-scientific premise
is introduced, but its unfolding soon devolves into a poetic and nightmarish
meditation on some moral or philosophical point. The
Happening relies on the appearance of a television scientist as well as a
high school science teacher to provide credibility, mainly out of habit. But in the end, no one will care about
neurotoxins or plant evolution. The Happening is a vision of the End
Times. The question is not how the
potent neurotoxins work, but as Ezekiel might ask, “How then can we live?”
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