We definitely see the zipper in the back of the Morlocks, and the clear cut division of the world in two antagonistic visual universes is too simple though it is acceptable as a dream, a vision, hence a simplified discourse because it is... more
We definitely see the zipper in the back of the Morlocks, and the clear cut division of the world in two antagonistic visual universes is too simple though it is acceptable as a dream, a vision, hence a simplified discourse because it is richly incrusted in a 19th century world. The same remark applies to the second film. But the special effects are extremely good and the visual effects are perfect. But this time there is a discourse that cannot be considered as a simplified dreamlike vision because we do not come back to 19th century New York: we stay in 802,701. Hence this future world is entirely accepted as morally, ideologically, historically and even materialistically possible. The final scene makes it even more difficult for one to distantiate oneself from the virtual universe because it is connected to and justified by love and saving both Mara, the woman Alexander loves, and Kalen, the child this woman loves, along with the Eloi community. In the same way any distantiation is difficult because of the progressive discourse on education and re-building civilization that Alexander is assuming in this world in which he has trapped himself. That’s where Wells’ warning is completely lost. There is no warning at all, except that we have to get ready to totally destroy our human enemies.
