Repost from 2011.
Ink-Stained Amazons and Cinematic Warriors: Superwomen in Modern Mythology || Jennifer K. Stuller || 2010
28 Days Later || Dir. Danny Boyle || 2003 || UK
La Horde/The Horde || Dirs. Benjamin Rocher & Yannick Dahan || 2009 || France
I recently finished a book by Jennifer K. Stuller called Ink-Stained Amazons and Cinematic Warriors: Superwomen in Modern Mythology. Despite the somewhat academic-y title, it's a breezy read, primarily because Stuller never takes sides in the debates over whether female heroines should be nurturing and sexual while still being protective, or not (i.e., the lone wolf stereotype); at least when these debates are brought up. The book of course covers Wonder Woman, Buffy the Vampire Slayer, Xena: Warrior Princess, Alias, The Sarah Jane Chronicles, blaxploitation films; and in a radical turn, Dark Angel, the series starring Jessica Alba. Most of these shows and films did allow the main female characters to have romantic and sexual relationships while still fighting for good. So it is only when discussing these shows or movies that Stuller takes the former side rather than the latter.
This crossover has maybe not quite yet made it into film, perhaps because TV is episodic and you get to know characters of the course of several seasons, if you're lucky; and of course you want to see characters develop relationships with each other in some form. When 28 Days Later came out nine years ago, feminist zinester friends of mine seemed to bemoan the fact that once at the military compound and/or she falls in love with Jim, Selena is not much of a fighter anymore and is made fun of by the military men when she attempts to. She is forced to shift over to protect herself and the much younger Hannah over the dreadful fate that looms over them (i.e., rape and forced motherhood). The problem with this argument is that it ignored the fact that Selena was not a superhuman warrior, she was not prepped to become one, and she was not trained by any secret force. She is just a human who had to put up a very cold facade to deal with an ugly situation. The only hint we're given to Selena's life pre-outbreak is that she "qualifies as a chemist!" While I'm sure she would put up a very good fight if she had to battle a dozen or so military officers with a machete, she would probably be defeated. In the scene where she and Mark give Jim the exposition in the subway convenience store, she is the only one who does not share what she had to go through to survive (the actress who played Selena, Naomie Harris, said that she made up the backstory that Selena had to kill her entire family when they became infected, including a 3-year-old brother). This doesn't explain why the recently convalescent Jim sprightly takes down the military group when he is a whisper-thin thing of a man, but it is Jim's story. In battle mode, he's like the wind, and perhaps uses his smallness to his advantage. Then again, he was a bike courier and those dudes are tough. There was an alternate ending or two for Jim. One being that he died from his gunshot wound, the other being a completely alternate storyline where Jim gives himself up by transfusing all his blood to the infected Frank, bypassing the entire military compound storyline. The latter was not shot, just storyboarded.
In zombie films, there is a divide. It can be pinpointed to the two different portrayals of Barbara in the 1968 and 1990 versions of Night of the Living Dead. 1968 Barbara, as portrayed by Judith O'Dea, was completely useless, but dealt with the new situation as some people would, which would be to have a nervous breakdown. Yeah, it's cool that in 2011 people are so inured to the fictionalized zombie world that they think that they could survive if zombies or something similar were to actually happen, but it's just a thought. See civilization and everyone you know fall apart or die, and realize that you actually have never held a weapon in your life, and we'll see what happens. 1990 Barbara, as portrayed by professional stuntwoman Patricia Tallman, becomes the hardcore version of Barbara. She breaks down at first, but becomes an almost cold and emotionless fighter. Tony Todd's Ben is more emotional in this film - he is more prone to crying. This isn't to say that Barbara won't break down later, but she shoots a fellow survivor in cold blood just because he is an asshole. There is no middle ground with the Barbaras in these two films.
Aurore in The Horde is closer to 1990 Barbara, despite being a whisper-thin (and braless) thing of a French woman. However, unlike Selena, she has had combat training because she is a cop. The Horde revolves around a small group of corrupt cops who invade a rundown building in the projects outside of Paris, seeking revenge upon a group of immigrant drug dealers who killed a fellow cop who was undercover. Not too long after the cops come upon the dealers, they realize a zombie infection has broken out. Not just within the dealers' apartment and the building, but also in Paris. The remaining dealers and cops must band together to try to find a way out of the building alive. There is a high level of distrust going on, especially from the dealers, as well as Aurore. Aurore early on is yelled at for crying, and the blame is placed on her for having the undercover cop killed, since she told him that she was pregnant with his child. It is implied that she did this just to mess with his head. She is given immediate care of the other wounded cop who has been shot in the leg.
Aurore and the wounded cop are soon separated from the rest of the group. It is soon displayed that Aurore is not someone you want to trifle with. She kills a zombie by repeatedly punching it in the head and body, then overturning a refrigerator onto it. She nearly kills the other cop, after he expresses some sympathy for her. The plot, character, and motivations in The Horde are not the most well-written. We don't know why Aurore suddenly flips and turns into a mercenary. It is likely that she has taken a lot of shit over the years for being a female cop, but why flip now? Even after the other characters notice the change in her, they still treat her as someone to be protected, when they perhaps should be more afraid that she will kill them all (and the group is soon small enough where she could). She particularly has it out for the leader of the dealers, Adewale, who she believes murdered the father of her child. The most reasonable member of both groups, Adewale is a Nigerian immigrant and refugee from the violence there, along with his more tempestuous younger brother Bol. He is the only member of the group who seems to have some sort of respect for the dead. Yet, he tends to patronize Aurore by calling her "dear", even after she has threatened his life.
The Horde is a pretty good film. Not as good as I thought it would be, but better than most. It is interesting because of the characters of Adewale and Aurore, as well as the fact that the characters tend to fight the zombies in hand-to-hand combat. Sometimes this is because there are no weapons, sometimes it is by choice. Aurore especially seems to thrive in crushing zombie heads. However, it is frustrating to watch the characters learn, then almost immediately forget that the zombies stay down if you shoot them in the head (not unlike the doctor in The Beyond). The zombies run in this one, adding to the tension. They also strangely hoard bodies. These are all interesting elements, but not enough is done with them. It is as if the filmmakers did not know whether to make a zombie action film or something a bit more human like the old Romero movies or the 28...Later series.