By Julie D. Griffin
R (Nicholas Hoult) falls in love with Julie (Theresa Palmer) after devouring the brains of her dead boyfriend. Just a small confrontational thing to work past, as R a zombie of the dead world desires more than anything to be able to communicate with the girl he loves and make her understand him. And yet because of his last days die disease and which has no present cure, the only way he manages to say the things he really wants to say to her consists of grunts and groans. Somehow though, through a miracle unscripted he slowly starts to come back to life, and through Julie wakes up one day to find the color coming back into his face, the force of shock which arose from the evil of life’s visudities fading. Oh I don’t know, perhaps a dark and evil witchcraft girlfriend from his past, alone for so many years, and failed to see her cauldron boiling. A black magic woman of the dark pit kind, as in a deep slop of unholy sewage he once fell into, and unless the saving grace of Julie would have continued to spiral downward forever and ever. In the meantime, as R, slowly evolves to the plot method of a real Romeo, now absorbs the memories of his dead and devoured brain food come alive, Julie slowly starts to find R interesting and although her love happened as slow as molasses on a deep south summer day, still at least her heart began to live again.
And although Julie does not know when she wants to get married, at least she starts to care about R, in a way that she is concerned about his physical appearance. She wants him to look good, and finds the whole thing about putting makeup on him and helping him with a new wardrobe a miracle. After all she was certain that a part of her had died as much as what the motif wanted here wants us to express. That something once dead has found new life. And it is through this very love and acceptance that Julie helps R and his friends discover a new hope. Her love has brought him back to life. And his need for her and for her to love and accept him surfaced as a driving force. The magic of Valentine Day represented by Warm Bodies Director Jonathon Levine, producers David Hoberman and Todd Lieberman also made the film production such a special representation of the symbolic hope so often bereft of a romance story. For a story based on a young man who takes Julie to dwell among his community of zombies, Isaac Marion who wrote the book Warm Bodies does a good job at showing the transition that often must take place for two people who fall in love to meet on similar territory and somehow combine.
In short, a lot of give and take must take part on both parts, not just one. Her love for him convinces her father to accept her love for R who her father, a military man, at first attempts to shoot to death. The job of her father which is to rid the government of all foreign zombie antibodies like R shows a lot of anger and a complete lack of trust for the zombie world. Of course, the zombie world who survive life by eating the brains of the living for the experience of lost memories, the act strikes a logical terror which effects the heart motive of the normal and the human beings unaffected by the fatal virus to develop any kind of a system of trust toward the zombie community anyway. The whole plot and thrust of the film as well as a romantic love relationship between R and Julie peaks with the healthy world community faced with whether or not to use love to save the partial dead, and whether to throughly annihilate the even more dangerous third community on earth, which consists of the final stage of the disease, living skeletons who move and groove like the living. Just one more problem though, as the last stage of the most aggressive organisms move around like heartless machines without any feeling. The hope of love gone from every area of the life of the third community, most of the earth humans seem to fear these more than falling in love for real.