“What’s in a name? That which we call a rose by any other word would smell as sweet.” Not quite. While it’s true that it took watching “Warm Bodies” for me to realize that what “Romeo and Juliet” had always been missing was zombies, the two don’t quite smell the same.
“Warm Bodies” is a romantic dramedy zombie horror film of not quite Shakespearean proportions. It’s just as delightfully odd and random as it sounds. The movie doesn’t seem to be able to decide what genre it is trying to fill, but does an admirable job of blending them in an enjoyable way. It’s not art, but it’s fun.
Based on the novel by Issaac Marion, “Warm Bodies” tells the story of R (Nicholas Holt), a conflicted zombie who would really rather not have to eat people, and Julie (Teresa Palmer), the conflicted daughter of the leader of the local human community (John Malkovich). As a corpse, R finds it very difficult to connect with people, and when he eats Julie’s boyfriend’s brains, he just can’t bring himself to eat her too. Thus begins a very awkward romance that could change the conflict between humans and zombies forever.
For such a genre-bending endeavor, “Warm Bodies”, directed by Jonathan Levine (of “50/50” fame), works surprisingly well as a tribute to Shakespeare’s “Romeo and Juliet,” albeit a zany one. Most of Shakespeare’s major characters have corresponding zombie or survivor parts in the movie. Mercutio becomes R’s zombie pal M, M standing for Marcus. In the play, Juliet had a Nurse; in the movie Julie has a friend named Nora who wants to be a nurse.
The script of “Warm Bodies” works well. Pacing can seem a little jumpy at times but it is generally smooth. Lines, especially R’s internal soliloquies, are clever and funny. Dialogue is satisfying, even if periodically flat — of course, sometimes the dialogue is made up of the groans of the undead. Characters develop nicely, a good balance being found between telling and showing manners and mannerisms. The script even explores the sadly ironic dehumanizing effects of technology and fighting for survival in a zombie-filled wasteland.
The acting fits the script well. Delivery is properly deadpan for the undead; comedic timing works well. Nicholas Holt carries the film, capturing the angst of meeting girls and trying to not be creepy — being a zombie doesn’t make matters any easier — and the dissatisfaction of life as a bachelor living alone, collecting old records and junk and having only one friend, surrounded by people you don’t connect with.
“Warm Bodies” possesses pleasant cinematography. The film does a good job of balancing the sweeping post-apocalyptic mood shots and the intimate romantic comedy scenes. The rapid zoom, in and out, made common by TV shows like “The Office” is used to good effect. Digital effects further the story, not breaking the fourth wall.
The soundtrack, like the rest of the movie, is fun and clever. Songs range from last years hit’s to classic rock. R listens to records on the original vinyl because it’s “more alive,” and the director is not above being blatant with the connections between the music and the plot. But it works.
“Warm Bodies” is a fun film to watch, even if it is ridiculously random. It starts as an ironic comedy, quickly becomes a fairly violent zombie horror film, transitions into an awkward romantic comedy, decides to be a dramatic thriller too, and revels in the cheese all along the way.
It’s not the rose that “Romeo and Juliet” is, but R and Julie’s story is a compelling enough flower to pause and take a sniff.
mmeadowcroft@hillsdale.edu
