Carlos Conceição's "Tommy Guns" makes an effort to weave war and horror-comedy themes into a coherent narrative. However, the film is more like a clunky mixture of genres than an ingenious confluence. Set in the final phase of Portuguese rule over Angola in 1974, the narrative takes the viewer on a journey. It begins as a historical drama, morphs into a dark comedy, and ultimately transforms into a zombie-themed movie. The use of zombies to comment on the lingering impacts of colonialism and the egregious misdeeds of the military feels far too predictable and overdone.
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The historical period it attempts to portray, the tumultuous decades of the '60s and '70s in Africa under colonial rule. It is typically represented with a stark realist aesthetic in cinema. In contrast, Conceição attempts to infuse a degree of fantastical surrealism in "Tommy Guns". This marks a unique, albeit not entirely successful, departure from conventional storytelling. In the film's extended opening, the viewer sees a Portuguese nun (Leonor Silveira), a soldier (Sílvio Vieira), and a young Angolan woman (Ulé Baldé). They cross paths in a haunting narrative of power and violence. However, when the title card appears almost halfway through the movie, it's indicative of Conceição's inclination for drama and also serves as an overly conspicuous harbinger of impending narrative shifts.
The initial part of the film paints a starkly grim and stylized picture of the intertwining of distorted ideologies, treachery, and brutality. Yet, Conceição’s subsequent backtrack from these profound themes in favor of depicting comedic barracks blunders falls short of being convincing. The narrative then follows the journey of a caricature-like macho colonel (Gustavo Sumpta). He has the seemingly impossible task of disciplining a group of lackluster Portuguese soldiers.
"Tommy Guns" then presents Apolonia (Anabela Moreira), a sex worker hired to take the virginity of the colonel’s green troops. She becomes a central figure in the storyline along with Zé (João Arrais), the unit’s most promising and sociable recruit. The narrative takes a wild turn when the land is besieged by risen Angolan zombies seeking retribution for the years of brutal suppression and murder at the hands of the Portuguese regime.
The film's most glaring flaw, aside from its failure to glean anything innovative from the tired zombie metaphor, lies in its inability to leverage humor successfully. The stony faces of the Angolan zombies fail to serve as an effective sight gag. Additionally, the portrayal of the Portuguese soldiers remains ambiguous. The audience is left guessing whether they are anti-heroes or villains.
Mati Diop's "Atlantics" masterfully uses a similar metaphor. It skillfully blends the surreal with the somber and finds subtle humor in the hauntingly expressionless faces of Dakar's residents possessed by the spirits of deceased African refugees. Compared to this, "Tommy Guns" falls flat, as it fails to leverage the delicate subtleties of this type of storytelling.
Unfortunately, as the film progresses into its final third, Conceição hastily transitions into a distinctly jokey genre mode. This shift consequently squanders any opportunity for deeper undertones. It's blatant referencing to "Day of the Dead," another film pitting zombies against soldiers, feels forced and uninspired. The prospect of Portuguese soldiers battling their way through hordes of Angolan zombies appears distasteful to Conceição, and coupled with an apparent affinity for his Portuguese characters. "Tommy Guns" concludes not with a bang, but with a whimper, echoing the hollow clicks of empty firearms.
