nrhodes, Sat, August 22nd, 2009
“He likes you,” says Christopher.
“We are alike,” says the little one, fascinated. “We’re the same.”
“We are not the same!” shrieks Wikus, leaping to his feet.
Wikus is still mostly right in this horrified declaration. Christopher and his son (who are CGI-conjured instead of played by actors) are aliens, two among the growing thousands who’ve been corralled for 28 years – since their apparently disabled mothership stalled above the city where it still hangs mid-sky – in an inner-city camp, ringed by East Berlin-like guard towers, gates, warning signs, razor wire and Multi National United’s prowling, brutal, trigger-happy private security forces. The South Africans call the aliens “prawns,” an epithet descriptive of their appearance.
Tensions and incidents of violence have risen during human and alien encounters, and the TV live-eye reports and interviews that provide much of the narrative thread and documentary-like ambiance include a pointed, bizarre parade of black South Africans voicing fearful hostility toward the aliens, resentment over the resources they consume, and vigorous support of an even greater Apartheid toward them. In their very public display of removing the aliens to a remote site with even fewer amenities than District 9 offers, MNU has carefully kept out of view their interest in accessing the aliens’ weapons, which are coded to work only via contact with alien biology, and the Mengele-like medical experiments. So smarmy to start with that you want to slap him, Wikus actually seems to believe MNU’s public relations line and is crudely racist – if that would be the term – in his officious condescension toward the aliens. Imagine his surprise when a chance encounter with a canister of alien fluid – its versatile powers will also fuel that mother-ship if Christopher can get back up there – first makes Wikus violently ill and then causes an alien hand and arm to sprout, replacing his own, just the beginning of his transformation.
To what lengths must we go to feel another’s pain and know we are alike? Only when “infected” with an alien life-form does Wikus become, well, fully human. Enduringly, we all want to go home. Each stranded in the world of the other, Wikus and Christopher share this yearning and its dilemmas and, from across a great chasm, come to be allies and even brothers. Quickly arriving at Central New York multiplexes after wide release on August 14th, District 9 is an exhilarating action film that’s also way better crafted and more thoughtful than you’d ever expect. As executive producer, hit mogul Peter Jackson “presents” this first-time feature from South African director Neill Blomkamp. In the largely South African cast, Copely delivers a stunning, high energy performance as the MNU bureaucrat who actually does love his wife Tania (Vanessa Haywood) and has more gumption than anybody previously imagined. One by one, his father-in-law (MNU’s CEO), the mercenary chief and the gangster running District 9’s black market all get more than they bargained for out of this frightened, unhip little guy they were planning to swat aside.
“District 9” also owes a great deal to other sci-fi movies. Part of the pleasure of watching it involves realizing that a certain vocabulary has evolved at this point that comments on more than the action at hand (satisfying as that may be). From Spielberg’s “Minority Report” (2002), for example, we see the manually operated blue holographic computer functions that hover in mid-air (predicting your own smart phone’s apps). The Wachowski brothers’ “Matrix” trilogy (1999 – 2003) provided familiarity with the notion that new knowledge and abilities could be “plugged in” instead of acquired through laborious, old-fashioned step-by-step learning (see the part where Wikus, inside what we might best call an alien Humvee, finds himself understanding its operation and channeling Ellen Ripley).
“District 9” especially owes a great deal to the “Alien” quartet (‘79, ‘86, ‘92 and ’97) – whether it’s memories of Ripley (Sigourney Weaver) protecting the orphan Newt by using her space-age fork-lift to battle the alien mother in the second installment, Ripley’s chest bursting open as she dives into the flames in the third, or the cloned Ripley – now part-alien herself and discovering botched versions of earlier attempts to clone her stored in vats of formaldehyde – heading back to earth, perhaps not with the same creature-loyalty. And whether it’s the many zombie films, New Line Cinema’s “Blade” trilogy with Wesley Snipes (variously directed, 1998, 2002 and 2004), or the progression of Ripley’s transformation over almost two decades and four directors, there also has emerged the idea that mixing species is at least tinged with infection. Setting “District 9” specifically in South Africa, including “news clips” of vociferously anti-alien black South Africans and Wikus’ reaction to Christopher’s offspring thinking they’re “alike” makes explicit something of a trend in which mixing species frankly stands in for an old ideology that views race-mixing with horror and justifies treating those who are different as “non-human.” I think surfacing this satirically is part of this film’s brilliance, but not everyone agrees; “District 9” dwells in a queasy, ambiguous zone where some reviewers have found it frankly, offensively racist.
Anyway, definitely don’t wait for the DVD.
“District 9” is playing in wide release. This review is announced in the August 20, 2009 print edition of the Syracuse City Eagle, where “Make it Snappy” is a regular film column reviewing recent theatrical releases as well as DVDs new and enduring. Nancy is a member of the national Women Film Critics Circle. Reach her at nancykeeferhodes@gmail.com.
