Last Updated on Friday, 21 October 2011 17:31 Written by Robert M. Price Friday, 21 October 2011 16:40
Most critics dismiss the 2005 film Hostel as despicable “torture porn” beneath the notice of cultured persons. But I am sure there is much more to it. It was while watching Hostel1 the second time, this time on DVD, that I noticed that it is essentially an updating of The Wicker Man. The thing that hit the button was the scene in which the boyish American tourist Josh (Derek Richardson) loses his virginity to one of the predatory women in the eponymous hostel in Slovakia. Briefly one hears the same piece of music that is playing in the scene in The Wicker Man where Sergeant Howie is anxiously resisting the seduction of Willow, the sacred prostitute. Sgt. Howie is a pious man, a virgin engaged to be married, and the pagans who run Summerisle have engineered a complex scheme to lure him into the role of a human sacrifice to be burnt to death in the vast structure called “the Wicker Man.” The islanders, all believers in neo-Paganism, have done their research on him as a likely choice, because their ritual requires the offering up of a virgin who is a fool and possesses the authority of a king (reflecting the ancient “fool king or “king for a day” sacrifice victim). The fool part comes in when Howie is asked to come and investigate the disappearance of Rowan Morrison, a young girl, from the island. Upon his arrival Sgt. Howie is led through an elaborate hoax, first told there is no such girl as he seeks, then that she has died and been buried, then that she is still alive and awaiting sacrifice at the May Day festival. All the while, he is being led to his own capture and sacrifice.
Well, the sex-seeking trio of adventurers in Hostel are lured to a village in Slovakia where the girls are beautiful and easy. After sleeping around a bit, they are, one by one, led off to their dooms. It seems that the sex farm hostel is a spider’s web for capturing candidates to be tortured to death in the cell-like rooms of an old factory nearby. The establishment, called Elite Hunting, provides innocent human lives and plenty of weapons and torture instruments for their clients who pay megabucks for the opportunity to make their most sadistic fantasies come true.
The first of the trio to go is Olie (Eythor Gudjonsson), a hedonistic Icelander who met up with the other two, college grads about to start graduate study in the fall, in the Paris brothels. Josh is the next to go, tortured to death by a man who always wanted to be a surgeon but couldn’t on account of his unsteady hands. But that doesn’t stop him from practicing, minus anesthetic, on poor Josh, whom he has already met in a scene we will get to in a moment. Third up is Paxton (Jay Hernandez), just as much a veteran drug smoker and flesh connoisseur as Olie despite his youth. But we learn something interesting about Paxton. In his childhood he saw a young girl perish at sea when a lifeguard thought he was kidding when he pleaded for someone to save her. Ever since he has blamed himself for not trying to swim out and retrieve her. Through a lucky accident, the man commencing to torture him incapacitates himself, leaving Paxton the opportunity to kill him and escape. In stolen clothes, he is about to peel out in a stolen car when he hears a familiar sound: a young woman is screaming, the victim of a crazy jock, an Ugly American Paxton had just met on his way out. Remembering the drowning incident many years before, Paxton is compelled to double back and save her, a development leading to a couple of the most disgusting and disturbing moments in the film. But they make it out and away.
The young woman, a Japanese tourist named Kana, sees in a mirror how hideously mutilated she has been and throws herself into the path of an oncoming train while Paxton, having done what he could to save her, sneaks aboard a train, evading the police (who, not surprisingly, are in cahoots with the torturers). On the way back into Western Europe, he happens to hear a familiar voice: it is the amateur surgeon who killed Josh! He follows him off the train, into the men’s room, and there kills him.
That brings us back to the earlier scene in which the hedonistic trio first encountered Josh’s murderer-to-be on the train heading to Slovakia. He introduced himself as a Dutch businessman and showed around a wallet photo of his young daughter, prompting Olie to show a picture of his own little girl. The lads are quite surprised to discover that the happy hedonist (who calls himself “the king of the swing”) is a family man! He explains how he was married for eight years. One can more or less guess what ended the marriage. Unexpectedly, the Dutchman grabs Josh’s thigh, is rebuffed, apologizes, and leaves the train compartment. He later turns up in the same Slovakian village, something that at first seems a bit too coincidental for comfort. There he rescues Josh from a mugging, and the two patch things up. Soon Josh is surprised to find himself playing doctor with this twisted son of a bitch in the torture dungeon.
What is going on here? The movie swings from being a sex travelogue to a horror show to an action adventure, but the transition is natural and seamless. Furthermore, the story is unified by a single over-arching theme: the updated parallel to The Wicker Man. The 1973 film contrasted, in a very politically incorrect manner, the humanistic, rationalistic morality of traditional Christianity (those elements it imbibed from Greek philosophy and Roman law) with the indiscriminant Nature-wholism of pagan religion. Today’s “Earth-First” ecologism is pagan in the same way, explicitly “sacrificing” human interests for the sake of Gaia. (Indeed, one suspects that much of what passes for “Humanism” in our day, with it’s zeal for abortion, euthanasia, and population reduction, is actually eco-paganism if not just plain “secular misanthropism.”) The Christianity of The Wicker Man, though presented as the priggish faith a Scots policeman, is really that of Harvey Cox in The Secular City2, where he follows Durkheim in tracing the progressive “disenchantment of the world” that occurred as the ancient Hebrews laid aside the worship of Baal and divine Nature in favor of a linear view of history in which God and his godlings, made in his image, namely us, are alike lifted out of and above Nature. Nature is desacralized and man is given dominion over it, together with increased dignity as being placed on God’s side of the creation, not that of the rest of the world. This is what it means for humans to be “in God’s image.” We do not worship nature, subordinate ourselves to it, or lose ourselves as merely part of it. It is this god-like perspective that has enabled human reason to conquer the forces of Nature, sometimes sloppily and dangerously. And it is no wonder that eco-anti-humanism today is also anti-scientific. The Wicker Man is clear about this clash of worldviews: Sgt. Howie is simultaneously a pagan sacrifice and a Christian martyr.
Hostel, these twenty-two years later, takes aim at a different sort of paganism, the amoral, hedonistic nihilism of decadent Europe. There the world has been completely disenchanted, and not even Nature is sacred. Anything goes. Drugs, sex, whatever you want, is available at a price. The key statement in the movie is, again, in the train compartment, when the Dutch businessman quips that you can get anything, anything, if the price is right. Little do we suspect at that point that he means recreational torture and murder.
The three hedonistic questers are a trio of Sgt. Howies. Olie goes first, because, as the train car scene shows us, he is the most like the depraved would-be surgeon: both are or have been family men but who have abandoned the implied moral discipline for a policy of benign amorality. He walks obliviously from the sex-room to the torture room, there being no moral difference between them. The only difference between them is, of course, hedonism: he doesn’t enjoy being the target of some sadist who is getting pleasure out of his death.
Josh is a virgin like Sgt. Howie. He is quite evidently ill at ease during the whole trip. But he finally succumbs, remember, in the scene with the seduction music from The Wicker Man. And then, in the style of all adolescent slasher films, he is marked for death. He has failed the test Sgt. Howie passed. Of course, Howie, too, wound up dead, but he did retain his integrity. And had Josh retained his, he might not have wound up where he did, led along by the penis.
Paxton, by no means naïve or innocent, would seem to be another like Olie, but he is not. He is early on marked as one who, amid the torpor of Das Mann (the collective, conformist stupidity of the age), yet hears the faint echoes of “the Call” (as Heidegger calls it) of one’s authentic self and destiny. Paxton remembers his moral duty to save another. He fears he once did not do enough to save the drowning girl, so he risks his life to save a fellow captive. (And just at this point he is like Sgt. Howie, who risked his life for a girl victim.) Here he authenticates himself by a single act. In doing so, he deserves to survive the ordeal of the Hostel. The girl he rescues is not so lucky. She lacks the will to continue. In throwing herself in the path of the train, she teaches a lesson: you cannot save someone who will not be saved. Everyone is on his or her own in the end.
The point of Hostel is that there is a direct continuum: where everything has been rendered a commodity, as Baudrillard says, even human life becomes mere merchandise (the eternal story of the still-thriving slave trade after all). When the goal of life has sunk to mere orgiastic pleasure-seeking, human dignity has vanished, no matter which end of the transaction one finds oneself on. Man has exchanged the image of God for the image of a pig. And this he must not do. Even if there is no God—especially if there is no God—we must assume the image of God and take responsibility for our values. If we don’t, well, Freud3 told us what would happen: society will collapse into a libidinous pigsty. Humanity will be like the Bonobo chimps who spend all their time coupling or masturbating.
Europe’s decadence has “pro”gressed to dangerous levels. The pathetic spectacle of French youth rioting in the streets against a bill that would make it legal for employers to fire employees (!) shows a retreat into infantilism. The French want the guaranteed security of the womb, and they want their government to provide it, or they will throw tantrums. Or think of the Neville Chamberlain approach to diplomacy in Europe: just mollify your enemies until they attack, hoping they never will. Europe’s problem is that they are godless. The problem is not that they have abandoned Christianity. No, that was the inevitable outcome of the rationalistic, scientific process that enabled mankind to transcend Nature-paganism. They and we do not need the Christian God. The need, as Nietzsche saw, is to become gods ourselves.
1 Hostel. Written and Directed by Eli Roth. Lion’s Gate Films: a Next Entertainment/Raw Nerve production, 2005.
2 Harvey Cox, The Secular City: Secularization and Urbanization in Theological Perspective (NY: Macmillan, 1965), Chapter One, “The Biblical Sources of Secularization,” pp. 17-37.
3 Sigmund Freud, Civilization and Its Discontents. Trans. James Strachey (NY: Norton, 1961)