Comparing the Dystopias of Seconds and Children of Men

Much like in literature, dystopia has long been a theme in film. Writers and directors often use dystopian themes as social commentary, emphasizing a future or reality that is fearsome and undesirable. John Frankenheimer’s Seconds (1966) is a sci-fi thriller with elements of neo-noir and a social commentary that leans towards dystopian themes. In the 21^st century, dystopian films have become increasingly more common, reflecting political unrest, environmental concerns, poverty and so on. Alfonso Cuarón, a pioneer of New Mexican Cinema, explored dystopian themes in his 2006 English-language film Children of Men, much more outwardly than Frankenheimer did with Seconds.

While Seconds is more concerned with the self in relation to the rest of society, Children of Men depicts an entire world collapsing. Frankenheimer’s protagonist, Arthur Hamilton (John Rudolph), is unsatisfied with his tepid and tedious daily life. Seconds focuses on the convolution of American ideals, a society that has become monotonous and ridden with gluttony thanks to commercialization.  On the contrary, Cuarón’s protagonist, Theo Faron (Clive Owen), is more disgruntled with society and the world around him. In the year 2027, humans have struggled with infertility for two decades, throwing society into chaos. He must guide a young West African refugee named Kee to safety – she is the first woman to be pregnant since infertility struck. Children of Men mirrors the growing concerns of humanity in the years since Seconds was released exactly forty years prior – immigration and oppression. While the cause of mass infertility is never fully explained, it is reasonable to assume this biological catastrophe is the result of widespread environmental or health problems.

One of the clearest differences between the dystopian themes of Seconds and Children of Men is the element of hope. This can best be explored through the closing scenes of each film. In Seconds, Arthur/Tony attempts to get a second chance at being “reborn” with the Company, but he realizes much too late that he is being wheeled off to his death – to become one of the cadavers that the Company uses to stage deaths. This embodies the despair and hopelessness that is woven throughout much of Seconds. Cuarón opts for a far more hopeful approach. Instead of the ominous Company, Theo is in search of the Human Project, a scientific research group working in the Azores to cure infertility. The group is almost fabled. In the final scene, Theo and Kee escape for the Azores via boat. Theo, who had been shot beforehand, dies, but Kee and her baby son Dylan are an embodiment of hope in the same way that the Virgin Mary and Jesus Christ were in Christianity.