# Dawn of the Dead (1979)



## _P_M_RASGP_ (Mar 6, 2002)

*DAWN OF THE DEAD, OR IN IRISH: DAWN O' THE shamro.... err...  DEED*

This is the dawn of the dead thread for all of you dead heads.


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## mac1 (Apr 15, 2004)

*Dawn of the Dead*

Anyone seen it yet? What did you think? I thought it was one of the most enjoyable films I had seen in a while, a little mindless violence made a nice break from my usual choice of films.


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## Brian G Turner (Apr 15, 2004)

*Re: Dawn of the Dead*

Heh, no chance of going out to the cinema for a while. 

 But what about _Shaun_ of the Dead? I would love to see that, actually.


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## mac1 (Apr 15, 2004)

*Re: Dawn of the Dead*

Yeah Shaun of the Dead looks great. Its definately the next the next film I go to the cinema to see.


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## McMurphy (Apr 16, 2004)

*Dawn of the Campy Review*

I had the chance to watch Dawn of the Dead (2004 remake) a few weeks ago.  I came out of the theatre with mixed feelings.  


*Strengths:  *Its horror formula works best when it is campy and light-heartedly self-aware that the movie is a remake of a sequel of the cult classic, Night of the Living Dead.  Let the zombies leer through the mall's glass window at the main characters.  Let the news broadcasts sound a bit over-the-top and deadpanned.  Let the zombies lunge out from a hidden, off screen place and give a good show of moaning.  Its cheesy, its campy, but, most importantly, it worked for the original, and the audience bought the ticket to consume popcorn and soda while reliving the original undead formula.    There are moments, although they don't happen as much as they should, that effectively tap into that effect.  The opening and ending sequences are the best examples.  Near the end, the main characters look through the binoculars from on top of a mall complex to a befriended owner of a gunshop across the street.  They and the audience have become accustomed to reading the thoughts of the gunshop owner by spotting his messages scribed on a markerboard he would hold above his head.  Instead of a new message, he holds up the board smeared with blood.  "He's infected," a hushed and horrible revelation both the audience and the characters feel at the same time.  When the strengths aren't goose bumping the flesh of the audience, it is making them chuckle at macabre moments that they never thought they would....without guilt.  Back to the gunshop owner with the markerboard.  
During a mid-movie sequence, the sharp shooting retail owner starts killing zombies who are absentmindedly trying to find a way to break into the mall.  Our "heroes" write a famous figure's name on their markerboard, the shooter reads it, and shoots the zombie best fitting that description.  Sounds tactless, and it is, but it also comes across as funny, especially when they decide against writing "Rosie O'Donald" because she would be too easy of a target.  


The music for the film also earns a favorable nod.  The opening credit sequence assaults the freshly seated viewers with flashes of worldwide chaos as zombies wreak havoc while playing Johnny Cash's chilling song, "When the Man Comes Around."  After hearing the song played over the carnage, it is hard to think of a song that could be better suited.  The heavy metal band, Disturbed, has their hit single, "Down with the Sickness" covered as a lounge-act tune:  a priceless treat that matches a sequence as the odd-coupled bunch of survivors get used to a life trapped in a mall.  Afterwards, you are left disturbed.  But grinning.



*Weaknesses:  *The film certainly has more than its fair share of moments that disables it from being truly a worthy example of horror in cinema.  First, too many "Hollywood moments" bleed through and ruin the campy tone.  It feels like a juggle, maybe even a compromise, of being either a typical Hollywood horror film or an exercise of indulgence for cult classics.  Stephen King wrote in On Writing that Night of the Living Dead marked the beginning of unnecessary gore in horror films, and I believe that Scream marked the beginning of the annoying "hip" college aged yuppies conquering supernatural killers (who are usually tied into rural characteristics, but the debate over urban fears of rural settings is better left in a Sociology paper) formula.  Dawn of the Dead teeters back and forth in both influences with unsatisfying results.



Horror films have become all about seeing just how far they can dare push the proverbial envelope in gross outs.  This film is no exception and, like others, can overstep the line.  A sequence involving a pregnant lady becoming a zombie is a showstopper, and the audience loses respect for the film.



In the end, I would suggest waiting to rent the film, but not paying high ticket prices, if you are a horror film fan.  The wait will be short.


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## mac1 (Apr 16, 2004)

*Re: Dawn of the Campy Review*

Thanks for the full review. I'll put it in the reviews section too. Yeah the film was incredibly Hollywood in places but I could forgive that. As for the pregnant zombie, I actually thought it was done tactfully enough (within reason (as regard the subject matter)), I was half expecting the child to rip out her stomach in an alienesque fashion and go on its own little ramapage, but the directors clearly held back on that front. I didn't really find the film shocking in anyway, it had its nods to cheesy 70's gorefests but there was nothing especially horrific in it, certainly not after having just watched The Passion of the Christ a few weeks previous. I loved the sniper scene, that was really amusing, as was the campy b*tching between the 3 security guards. Perhaps I just wasn't in the mood for anything too deep at the time, all I wanted was something to pass a few hours and keep me ammused, Dawn of the Dead (remake) did that in abundance.


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## McMurphy (Apr 16, 2004)

*Re: Dawn of the Dead*

I see what you mean.  Perhaps saying that it should be rented rather than watched in a theatre is a bit misleading.  I agree:  the movie is worth watching in the theatre if you are in the mood for anything not too deep.  It may not be perfect even on that level, but that doesn't mean it doesn't fit the bill.  

Speaking of deep, I have had a question about Night of the Living Dead that I have always meant to ask.  Does the movie have a message?  Is it a social commentary hidden in a supernatural cloak much like The Twilight Zone was orginally written so the creator could preach his political/social viewpoints on television networks that shunned anything of the sort?


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## mac1 (Apr 16, 2004)

*Re: Dawn of the Dead*



			
				McMurphy said:
			
		

> Speaking of deep, I have had a question about Night of the Living Dead that I have always meant to ask. Does the movie have a message? Is it a social commentary hidden in a supernatural cloak much like The Twilight Zone was orginally written so the creator could preach his political/social viewpoints on television networks that shunned anything of the sort?


 I never really looked at The Twilight Zone that way, but that does make sense. Is that a well documented fact about The Twilight Zone, or something you noticed yourself? It is my belief that everything has subtext to some degree. I believe that whether we like it or not, we are always going to be influenced from the events that surround us whether we are concious of it or not. It is however the concious parody or social commentary that is most obvious to spot.

 In the case of Night of the Living Dead, I would probably have to watch it again to pass such judgements properly (as it must be nearly a decade since I last saw it). One obvious subtext must be the way in which it is the people themselves who are the killers by the end of the movie. I think, if there where diliberate subtexts in the movie, then this indiscriminate killing by people would have certainly been one, a reflection of society at the time, possible racial in origin. The film was shot at a time where anti-afro-americanism was strife, with King assinated the era, it was quite daring for Romero to allow a black man's character such power, and more importantly, for a black man to be the only character not led by the masses. Another possible subtext might be found in the "space radiation". Was this a silent nod toward the anti-nuclear protests of the flower power era. It is entirely possible that such radiation could have been concieved from the atomic bomb, with negative connotations put to radiation as subliminal deterant from atomic warfare.

 Are those the kinds of subtexts you are getting at?

 Nice Quesion BTW, thats really got me in analytical modenow! What were your thoughts on the matter? What did you think the covert messages/commentary could have been?

 Anyone else have any thoughts on the matter?


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## Brian G Turner (Apr 16, 2004)

*Re: Dawn of the Campy Review*



			
				Bigmacscanlan said:
			
		

> As for the pregnant zombie, I actually thought it was done tactfully enough (within reason (as regard the subject matter)), I was half expecting the child to rip out her stomach in an alienesque fashion and go on its own little ramapage, but the directors clearly held back on that front.


 I should hope so!! I don't think it's the film-maker's ideal to seek to directly _distress_ members of the audience! Certainly not in the tongue-in-cheek horror movie genre.


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## McMurphy (Apr 17, 2004)

*Twilight of the Dead*




			
				Bigmacscanlan said:
			
		

> I never really looked at The Twilight Zone that way, but that does make sense. Is that a well documented fact about The Twilight Zone, or something you noticed yourself?





I first came across the fact of Rod Serling's original intent for the series within the "Special Features" section of The Twilight Zone:  Volume 8 DVD, which included episodes 14 ("Third from the Sun"), 68 ("The Shelter"), 89 ("To Serve Man"), and 90 ("The Fugitive").





			
				Bigmacscanlan said:
			
		

> In the case of Night of the Living Dead, I would probably have to watch it again to pass such judgments properly (as it must be nearly a decade since I last saw it). One obvious subtext must be the way in which it is the people themselves who are the killers by the end of the movie. I think, if there where diliberate subtexts in the movie, then this indiscriminate killing by people would have certainly been one, a reflection of society at the time, possible racial in origin. The film was shot at a time where anti-afro-americanism was strife, with King assinated the same year, quite daring then, that Romero should allow a black man's character such power, and more importantly, for a black man to be the only character not led by the masses. Another possible subtext might be found in the "space radiation". Was this a silent nod toward the anti-nuclear protests of the flower power era. It is entirely possible that such radiation could have been concieved from the atomic bomb, with negative connotations put to radiation as subliminal deterant from atomic warfare.
> 
> 
> 
> Are those the kinds of subtexts you are getting at?






 Yes, those are the very subtexts that I was thinking about.  I understand that much of science fiction and horror of the time dealt around radiation and fictional monsters that dwell within its misuse.  Perhaps, the fact radiation was a key motif in the era's science fiction had more to do with being a reaction to the social/political climate instead of a commentary about it.  I once read that the slasher movies were, largely, a semi-subconscious reaction by conservative male film makers to independent and empowered women at home, education, and within the workforce; hence, the formation of the "through-the-eyes-of-the-slasher" camera shots.  Nuclear war, radiation, and the hideous monsters personifying Cold War fears seemed all too natural of a source to draw from at the time.



I would like to believe that Night of the Living Dead was more than a reaction:  it was a commentary.  I am going to take an assumption here (perhaps unwisely) that everyone reading this is aware of what happens to our hero of the movie.  I think it was significant that the lead role was an African American.  It was a feature quite rare in '50s and '60s cinema.  The raiding party (representing the military?) of zombie killers at the end do only what they know how to do, regardless of how sloppy they have become.  The zombies may also represent the nation's apathic citizens who, through not challenging the political climate, not only enable but also uphold the Cold War.  During the Cold War, it was important for families to appear "all American" and lock away any "disgraceful" activities.  If the zombies did, in fact, represent inactive citizens, then Romero would then be suggesting that it was said people who are truly responsible for feasting on the nation's sense of security.



I may be WAY off on all this (and I haven't until now had the chance to materialize my thoughts on the manner) but it would be an interesting way of looking at the film, wouldn't it?

Thank you for the thoughtful and thought provoking response!


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## mac1 (Apr 17, 2004)

*Re: Twilight of the Dead*



			
				McMurphy said:
			
		

> Thank you for the thoughtful and thought provoking response!


 My pleasure, its nice to discuss films on a deeper level 

 I have a question for you McMurphy? What came first, the assassination of Martin Luther King, or the release if Night of the Lining Dead? If King was killed first, then perhaps the main character (sorry his name escapes me) was actually based on King. Even if the film came first, King would have certainly have been the most prominent afro-american figure in the media at the time, and the freewill of the charachter would seem to fit the description of King quite well. Just a thought.


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## McMurphy (Apr 17, 2004)

*Luther and Night of the Dead*

Martin Luther King Jr. was assassinated in Memphis, Tennessee on April 4, 1968.

Night of the Living Dead was filmed in 1964.

Unfortunately, a direct reference to King's death is out of the question it looks like, although who are us to say that the main character is not representative of living African American activists of the '60s?  

What is also interesting about King is that, at the time of his assassination, he became truly dangerous to the powers that be because he had moved from strictly racial issues to challenging legal system's lack of protection for the poor working class.  At the time of his death, he was organizing a large social disobedience protest at Washington DC to demand a Bill of Rights for that class.  Some historians have debated that he was killed because his activism dared to cross racial lines.

I just realized that, regardless if the film meant to make us think, it has certainly inspired us to do so!

Thank you, again!


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## mac1 (Apr 17, 2004)

*Re: Luther and Night of the Dead*



			
				McMurphy said:
			
		

> I just realized that, regardless if the film meant to make us think, it has certainly inspired us to do so!


  Indeed. 

 Yeah, it seems my chronology was way off, for some reason I thought the two were in the same year. However the idea that the character was based on 60's black activists would certainly still seem a realistic one.

  Now for a question that is 100% completely off topic ...    ... ... ... Have you seen Lost Highway by any chance?

 It is a film I have attempted to understand for quite some time. I am utterly convinced that almost everything in it is symbolic of something, yet for the most part, figuring out what means what has stumped me. I started a thread on it a while back http://www.chronicles-network.net/forum/showthread.php?t=911&page=1&pp=15 (not sure if you saw it), I was just wondering, as someone who obviously analyses films quite a lot the same way I do, If you had any thoughts on Lost Highway. If you haven't seen it, you should check it out, it really is one to make you think.


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## McMurphy (Apr 17, 2004)

*Dawn of the Lost Highway...okay, I'll Stop*

I clicked the link, and I would have to agree with you on the notion that a majority of sequences of Lost Highway is taking place within the main character's head, at least, to the extent that Lynch provided us the psychic materialization of his mental/emotional crisis.  To be honest, I really need to rewatch it again to effectively extract the symbolism in the film and, considering this is David Lynch we are talking about, I have no doubt that movie is swelling with symbolism.

I like what you said in regards to the leering, short "devil" figure of the story being a representation of his mental state.  He could certainly be the main character's emotional awareness of the crumbing state of his marriage and his personal happiness.  With all the silent moments in the beginning (and there is a staggering amount; I had friends walk out of the room, giving up on the film right then and there), it becomes obvious to the viewers that he is completely detached with his own emotions yet still feels the dull hum of pain surrounding him.  It reminds me of how, when one accidently has his stereo set to the wrong channel setting, he gets the humming of the speakers instead of his music. Most often when he finds the right channel, he almost blows out his speakers because he had the volume turned up too high.

I believe that is exactly what happened emotionally to the main character when he finally started dealing with his unhappiness:  the volume of his pain threatened to blow out his mind and leave it a nonfunctioning mess.  The devil figure leaves those sequence of tapes at his home that feature a progression of filming his home life.  First, from outside, but as the tapes continue, they get within the house and finally within his bedroom, one of the most personal places within a household.  It is when the tapes finally become way too close for comfort that his mental journey of dealing with the unhappiness in his home life begins.

...or, I may have no idea what the heck I am talking about, which wouldn't surprise me with Lynch!


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## Vodstok (Apr 27, 2004)

*Re: Dawn of the Dead*

i'm sorry if the conversation has moved beyond this point, but i found it interesting. About the subtext of Romero's films: He has states in the past that a lot of what goes on in the movies is subtle commentary. A freind over in the forums at horror.com broke it down eloquently:

Night Of the living dead was a commentary on equality. Romero showed Ben, a black man, as being strong, together, and basically the only person in the movie who wasnt a complete moron or yokel. Him dying at the end was representative of the prevailing attitude of blacks in America up until that point. Ben was killed at the end, because the rednecks that shot him saw a black guy, and didnt bother to check and see if he was different from the others.

Dawn of the dead (the original), was about consumerism and commercialism (in the 70's) The scene with the zombies wanderin aimlessly in the mall was exactly what it appeared to be, an example that people are so mindless these days that, given the situation where they are dead but still walking, there is no real obvious difference between a living shopper, and a dead person wandering in a mall.

Day of the dead was 80's apocalypse paranoia, distrust of the government, and fear of science.



All that being said, i have a sever phobia of zombies, and was tense, on the edge of my seat during the whole of the new Dawn of the Dead. I absolutley adored it, not that i believe it is Oscar-worthy.


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## Traveller (Apr 27, 2004)

*Re: Dawn of the Dead*

I saw this a while back now and as Zombie movies are one of the most enjoyable genre of films for me anyway the lumberingness of the undead being able to dodge them at will I have to say the speediness of this made a change from the usual remake or refilming or what ever the director wanted to call it.

I usually find that the origionals are better than the new versions and ys the classic Dawn of the Dead is great being the second of the 3 it is also my favourite.

I thought the beginning was the best part it set the scene for the rest of the film and the whole fact that the Zombies ran and ran fast was a bit freaky but it made them more realistic.
I always wandered why they wanted to leave the mall in the first place yes I know that the Zombies got in finally but why had they even decided to leave in Malls there must be enough food etc to last a few months by which time the Zombies will have started to rot anyway.

Also why start with the second film why not start with Night of the Living Dead would have made things easier for others to understand if they had missed out.

But all in all I have to say I did actually like the film just enough to keep you going a few jumps here and there and of course the fact that the origional cast of Dawn of the Dead appeared in it


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## ravenus (Jun 1, 2004)

*Re: Dawn of the Dead*

I loved the entire Romero-helmed Dead series, including the bafflingly dismissed _*Day of The Dead*_. I think it's a great portrayal of a society faced with anarchy, which I think forms the basic crux of all the films, only the scale changing from the first to the last. I find it sad that most people who talk about the new Dead film (which I haven't seen) speak more about the gore elements than anything else. For me the gore in the Romero films was only an incidental part, they were strong and interesting films even without it.

People who liked the original Dead films for more than their gore are strongly advised to check out *Martin*, his tragic and brilliant deconstruction of the vampire.


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## dwndrgn (Jun 1, 2004)

*Re: Dawn of the Dead*

hi ravenus, welcome to the forum!  I don't go much in for horror, gore or no gore so I can't argue the merits with you.  I just wanted to say hi and welcome.


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## ravenus (Jun 1, 2004)

*Re: Dawn of the Dead*



			
				dwndrgn said:
			
		

> hi ravenus, welcome to the forum! I don't go much in for horror, gore or no gore so I can't argue the merits with you. I just wanted to say hi and welcome.


Pleased to be here and hope to have some good discussions on the forum


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## mac1 (Jun 9, 2004)

*Re: Dawn of the Dead*

Sorry McMurphy, I've been gone for a while I know (its taking ages to catch up reading a months worth of posts ). Going back to whole symbolism issue in Lost Highway, I think your comments pretty much reflect what I took from the film. I never made the silence=detactment link before, but yes in retrospect it does seem to be quite an obvious one.

Have you any thoughts on Mulholland Drive? I've seen it twice now and I am still none the wiser?


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## polymorphikos (Jun 12, 2004)

*Re: Dawn of the Dead*

It's all a dream...

Obvious, I know. The one represents all of her hopes and ideals of excitement and romance in the new city, and the other the grim realities of being chewed up and spat out. In the dream, she creates excuses and rationalisations that didn't exist for her in the real world, but, also like a real dream, the story wanders and often makes no sense. I'm still baffled by the bit in the cafe with the two me, and the creepy monster. But then bear in mind that it was origionally a TV pilot.


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## Starbeast (Mar 29, 2011)

Great follow up to the original _Night of the Living Dead_, I remember there was a lot of screaming in the theater at the time, the film also had an eerie soundtrack scored by the group called Goblin. This movie inspired director Lucio Fulci to create his walking dead gore movie called _Zombie (a.k.a. Zombie 2)._


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