Zombieland: Double Tap
The vast majority of sequels are unnecessary, but Zombieland: Double Tap feels particularly so, especially coming out a decade after the original.
"They Shoot Horses, Don't They?"
Review / Roger Ebert (1970)
Erase the forced smiles from the desperate faces, and what the dance marathons of the 1930s came down to was fairly simple. A roomful of human beings went around and around within four walls for weeks at a time without sleep, populating a circus for others who paid to see them. At the end, those who didn't collapse or drop dead won cash prizes that were good money during the Depression. And the Depression, in an oblique sort of way, was the reason for it all. The marathons offered money to the winners and distraction to everyone else.
To be sure, some of the marathons got pretty grim. Contestants tried to dance their way through illnesses and pregnancies, through lice and hallucinations, and the sight of them doing it was part of the show. Beyond the hit tunes and the crepe paper and the free pig as a door prize, there was an elementary sadism in the appeal of the marathons.
Among American spectator sports, they rank with stock-car racing. There was always that delicious possibility, you see, that somebody would die. Or freak out. Or stand helplessly while his partner collapsed and he lost the investment of hundreds of hours of his life.
"They Shoot Horses, Don't They?' is a masterful re-creation of the marathon era for audiences that are mostly unfamiliar with it. In addition to everything else it does, "Horses" holds our attention because it tells us something we didn't know about human nature and American society. It tells us a lot more than that, of course, but because it works on this fundamental level as well it is one of the best American movies of the 1970s. It is so good as a movie, indeed, that it doesn't have to bother with explaining the things in my first two paragraphs; they are all there and that's where I found them, but they are completely incorporated into the structure of the film.
Director Sydney Pollack has built a ballroom and filled it with characters. They come from nowhere, really; Michael Sarrazin is photographed as if he has walked into the ballroom directly from the sea. The characters seem to have no histories, no alternate lives; they exist only within the walls of the ballroom and during the ticking of the official clock. Pollack has simplified the universe. He has got everything in life boiled down to this silly contest; and what he tells us has more to do with lives than contests.
Sarrazin meets Jane Fonda, and they became partners almost absentmindedly; he wasn't even planning on entering a marathon. There are other contestants, particularly Red Buttons and Bonnie Bedelia in splendid supporting performances, and they are whipped around the floor by the false enthusiasm of Gig Young, the master of ceremonies. "Yowzza!Yowzza!" he chants, and all the while he regards the contestants with the peculiarly disinterested curiosity of an exhausted god.
There are not a lot of laughs in "Horses," because Pollack has directed from the point of view of the contestants. They are bitter beyond any hope of release. The movie's delicately timed pacing and Pollack's visual style work almost stealthily to involve us; we begin to feel the physical weariness and spiritual desperation of the characters.
The movie begins on a note of alienation and spirals down from there. "Horses" provides us no cheap release at the end; and the ending, precisely because it is so obvious, is all the more effective. We knew it was coming. Even the title gave it away. And when it comes, it is effective not because it is a surprise but because it is inevitable. As inevitable as death.
The performances are perfectly matched to Pollack's grim vision. Jane Fonda is hard, unbreakable, filled with hate and fear. Sarrazin can do nothing, really, but stand there and pity her; no one, not even during the Depression, should have to feel so without hope. Red Buttons, as the sailor who's a veteran of other marathons and cheerfully teaches everybody the ropes, reminds us that the great character actor from "Sayanora" still exists, and that comedians are somehow the best in certain tragic roles.
And that's what the movie comes down to, maybe. The characters are comedians trapped in tragic roles. They signed up for the three square meals a day and the crack at the $1,500 prize, and they can stop after all whenever they want to. But somehow they can't stop, and as the hundreds and thousands of hours of weariness and futility begin to accumulate, the great dance marathon begins to look more and more like life.
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