I can remember when the concept of ‘bromance’ was a revelation to me. It’s warped into something ugly now, a word I can only bring myself to use contained safely between quotation marks. But I was young, and full of foolish innocence, and the word was a lightning rod. The relationship between two (mostly) straight men, it said, could be as beautiful and important as the love affairs most films dedicated themselves to. I wasn’t thinking of Ryan Reynolds and The Hangover and MTV. I was thinking of Nick Frost and Simon Pegg.
Shaun of the Dead, for all its high-concept romzomcom premise and delicate construction, is just about two blokes in love. Shaun and Ed. The kind of mates who’ve known each other since primary school, have intertwined lives and shared jokes that have being running since forever.
Of course, there are women, and family, and all the types of love that come along with that too. But Shaun of the Dead presents nothing on a higher pedestal than what I’m sure Plato himself would have termed the bromantic love between the two. In the finest Twilight tradition, however, the path of their love does not run smooth. The painful truth, as various characters continually point out to Shaun, is that he’s just no good for him. Ed’s lazy and abrasive and selfish. But since when has that got in the way of a good romance?
It’s the central conflict of the film. Sure, it looks like a romantic comedy (with zombies!, as the tagline so cheerily informs us) about a guy trying to win back his girl, but really the threat that drives the plot along – from the very first scene, long before the zombies arrive – is deciding whether his relationship with Ed is destructive. It’s all tangled up with Shaun’s need to sort his life out, but the relationship with Ed – and whether Shaun should dump him, and whether anyone will stand between these starcross’d mates – is where that conflict crystallises most clearly into actual narrative.
This relationship between men is one of the key tenets on which all of Pegg, Frost, and Wright’s work is built, along with the oft-cited pop-cultural obsession and the symmetrical structures of callbacks and foreshadowing which we’ll be looking at in a future post. All three are fascinations of mine, and Shaun came along at so perfect a moment that I can’t separate the two, establish which came first.
When I actually watched Shaun of the Dead, on my bedroom floor with my own BFF, did this all stand out? Did I know that I would ever try and mark pre- and post-? Of course not. I was too busy being entertained by a funny, thrilling, gory romp. Everything else came later: when you’re watching it for the seventeenth time; when you take selfsame friend to see Hot Fuzz for Valentine’s Day; when you’re trying to write about it…