Reflections
on characters and themes in “Soylent Green”
Directed
by Richard Fleischer
Screenplay
by Stanley R Greenberg, based on a novel by Harry Harrison
Starring
Charlton Heston, Edward G Robinson, Leigh Taylor-Young,
Chuck
Connors and Joseph Cotten
Using the premise of an
investigation into the murder of a wealthy businessman, “Soylent Green”
presents a series of warnings concerning the future consequences of the
deterioration of Earth’s environment and ecosystem, especially on human society
and the direction it may take in trying to cope with these consequences.
Virtual exhaustion of
natural resources combined with climate change and overpopulation have produced
extreme pressure on living space, water and food supplies, issues concerning
both employment and unemployment (where jobs are lost after just two days’
absence), the introduction of voluntary euthanasia and generalised poverty.
With little chance of change or betterment, hope for the future is all but been
extinguished, leading to a lack of self-esteem, degradation and dehumanisation
as all battle to survive.
There is something of a
gulf between the lifestyle of the wealthy few and the penury and misery of the
masses. Private companies control power and the provision of food and water,
with executives colluding with politicians to enjoy luxuries such as spacious
apartments (complete with concubine), hot water, soap, traditional foodstuffs
as opposed to tasteless nutrition bars and even alcoholic beverages, as they
put profit and personal advancement above humanity and principle.
However, one executive
named Simonson has discovered the drastic and morally repugnant lengths to
which his food-producing company, Soylent, will go to maintain its share of
this profitable market and, unhappy with the situation, is making waves.
Simonson has discovered
that as the ecosystems of the seas are failing, the farming of plankton used to
produce Soylent Green is also failing and so Soylent has turned to a more
readily available but socially unacceptable source for its food supply. They
treat and process dead bodies to provide their nutrition bars and, fearing
public revulsion and rejection, they go to considerable lengths to ensure
secrecy and security are maintained.
Simonson, however, finds
this disrespect and degradation hard to live with. He becomes introverted,
shies away from sexual contact with his concubine Shirl, goes to church and
confides in a priest (on whom the news has an equally shocking effect) and he
is even willing to accept his own assassination as he understands the company’s
motives and priorities but he may also be so disgusted with himself and the
decaying and hopeless society to which he has contributed that he welcomes
death as an escape.
Considered a threat to
the continued success and survival of the company, the board orders his
assassination and a policeman named Thorn is assigned to investigate.
Thorn is a product of his
time and can usefully be compared to his academic professional partner, the
elderly Sol Roth.
Thorn displays
acceptance, apathy and a willingness to profit from his position, though his
limited form of looting appears to be accepted as the norm in a time and place
where each must do what he or she has to do to make life easier and survive.
Yet there is a limit to Thorn’s apparent apathy and cynicism. Simonson’s murder
evokes or rekindles his professionalism as he detects signs of conspiracy and
indications this is more than just an opportunist murder. He displays a
determination to uncover truth and does not concede to threats.
He is willing to use
Shirl sexually but he develops some sympathy and compassion when he is drawn to
see Shirl and her fellow concubines (whose treatment may be viewed as embodying
the exploitation of the many by the powerful few) as victims of abuse and this
leads to something of an awakening and a deepening of feelings.
Sol Roth is an old man
who is able to recall when times were better in his past and he makes negative
comparisons with his present, also inviting the audience to appreciate its
present as opposed to this potential future.
He is a man of education,
taste and principle and he is a warning to us all not to take social standards,
humanity and the environment for granted as things can slip very quickly in a
time of change and given the right circumstances. This is emphasised at his
funeral when Thorn views images and hears sounds that inform him and remind us
of the beauty and abundance of the Earth’s resources and how easily that might
change.
The storyline links
environmental issues with social structures and outcomes dependent on corporate
management and profit margins. It presents a clear warning not just about the
consequences for society of plundering natural resources, but also of the
plundering of the vast majority for the financial and social benefits of the
tiny minority.
All told, I find this an
engaging and thought-provoking thriller which is flawed and lacks variety of
tone. I felt that by and large characters were perhaps underdeveloped or
underwritten with the possible exception of Sol Roth whose scenes are among the
best in the film as they convey drama, humour and tragedy.
Essentially, this is a
concept film in which the ideas to be conveyed are the true stars and these
ideas are certainly driven home, but at the expense of the potential alienation
of the audience. The abject misery and dystopian lack of hope throughout and
especially at the end may have been perceived as a wake-up call and warning by
those involved in the production of this intriguing and provocative film, but
they risk inducing in their audience the very apathy and sense of hopelessness
portrayed in the film, especially when the film is populated by largely
unsympathetic characters.
Charlton Heston is
engaging and provides a powerful presence though, as suggested earlier, Thorn’s
evolution should have been better drawn if we are to have much sympathy for
this often unpleasant character.
Edward G Robinson plays
his relatively small but essential role to maximum effect and produces a well-rounded
performance in what was to be his final role.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
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