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Post by petrolino on Jul 12, 2018 0:26:41 GMT
In autumn of this year, the horror movie 'Night Of The Living Dead' will officially celebrate it's 50th anniversary. It's written by John Russo and director George Romero who was inspired to write his original story by Richard Matheson's novel 'I Am Legend' (1954). Official screen versions of 'I Am Legend' include 'The Last Man On Earth' (1964), 'The Omega Man' (1971) and 'I Am Legend' (2007), all of which have their merits. 'Night Of The Living Dead' is about a group of people who become trapped in a rural farmhouse in Pennsylvania that's besieged by the undead. The living dead in the film are considered to be zombies though they were originally conceived as ghouls. The undead also eat people, an idea that was humorously floated in 'King Of The Zombies' (1941) but is made shockingly real by 'Night Of The Living Dead'.
"They're coming to get you, Barbara!"
'Yummy Yummy Yummy' - Ohio Express
If someone were to ask me to select a single film I feel marks the birth of modern horror cinema, I'd consider several candidates from the 1960s. 1960 was a watershed year that saw the release of major genre works such as 'Psycho' (1960) and 'House Of Usher' (1960) in the United States of America, 'Black Sunday' (1960) in Italy, 'The Housemaid' (1960) in South Korea and 'Jigoku' (1960) in Japan. In France, 'Blood And Roses' (1960) and 'Eyes Without A Face' (1960) were released, while here in the United Kingdom, cinemas were screening 'Brides Of Dracula' (1960), 'Peeping Tom' (1960) and 'Village Of The Damned' (1960). Clearly, it was an important year in the evolution of horror cinema, yet with so many titles to choose from, I tend to look more towards the release of Herk Harvey's 'Carnival Of Souls' (1962). Here's a film that seems to stand as its own entity; one that's at once modern, very independent and forward-thinking, sharp, visceral and extremely atmospheric. Yet 'Carnival Of Souls' shared the stage with another key work that ticks some of the same boxes, Curtis Harrington's 'Night Tide' (1962).
"There are no zombies in "Night of the Living Dead" and no talk of them either: I don't believe the word is even spoken. By far the most common term used by all the survivors to define their attackers is simply, thing -- as in "I ought to take you out and feed you to those things." In this context, thing is a scarier word than zombie, because the speaker is confessing that what he has seen beggars language itself. The dead and living look nothing like each other, a World War II tank officer asserted, and the change between states can come blindingly fast. Their sometime resemblance to the regular human race notwithstanding, the living dead are rarely, if ever, mistaken for the merely living; at times the dead seem like Gorgons, as when Ben (Duane Jones), who's just used a crowbar to penetrate the brain of a invading predator warns Barbra (Judith O’Dea), "Don't look at it!" It's no wonder that Barbra wails, all too appropriately, "What's happening?"
"Night of the Living Dead" is one of the few films to embody such deep confusion, even aphasia or blindness about the living versus the dead. If, as it says in "Genesis," that God made man in his image, that image is exactly what is eclipsed during this night. Even the mind of the law is boggled. The newsman asks Sheriff McClellan how it is that these entities can be alive and dead at the same time, the sheriff can only mumble, "Yeah... they're dead... they're all messed up." Well, Schrodinger had the same problem."
- Jim Trombetta, 'Night Of The Living Dead'
Judith Ridley, Keith Wayne & Duane Jones
For some film fans, modern horror truly begins with the release of 'Night Of The Living Dead'. A strong case could certainly be made as modern American cinema really took off in the late 1960s with the release of groundbreaking films like 'Bonnie And Clyde' (1967), 'The Graduate' (1967), 'Bob & Carol & Ted & Alice' (1969), 'Easy Rider' (1969) and 'The Wild Bunch' (1969). I select George Romero as one of my four heads for modern horror cinema's Mount Rushmore, alongside his friends and contemporaries Wes Craven, Tobe Hooper and John Carpenter, so it's important to note that Craven, Hooper and Carpenter were all inspired in their creative filmmaking by 'Night Of The Living Dead'. Only Carpenter is still with us, but these four pioneers in their chosen field all held great respect for one another.
"I felt real terror in that neighborhood theater last Saturday afternoon. I saw kids who had no resources they could draw upon to protect themselves from the dread and fear they felt. Censorship isn't the answer to something like this. Censorship is never the answer. For that matter, "Night of the Living Dead" was passed for general audiences by the Chicago Police Censor Board. Since it had no nudity in it, it was all right for kids, I guess. This is another example, and there have been a lot of them, of the incompetence and stupidity of the censorship system that Chicago stubbornly maintains under political patronage. Censorship is not the answer. But I would be ashamed to make a civil libertarian argument defending the "right" of those little girls and boys to see a film which left a lot of them stunned with terror. In a case like this, I'd want to know what the parents were thinking of when they dumped the kids in front of the theater to see a film titled "Night of the Living Dead." The new Code of Self Regulation, recently adopted by the Motion Picture Assn. of American, would presumably restrict a film like this one to mature audiences. But "Night of the Living Dead" was produced before the MPAA code went into effect, so exhibitors technically weren't required to keep the kids out."
- Roger Ebert, The Chicago Sun-Times
Karl Hardman, Marilyn Eastman & Kyra Schon
'Night Of The Living Dead' has had recognised cultural impact and it changed society's perception of zombies completely. Before it, zombies were from Haitian folklore and connected to magic. In cinema, hypnosis was key to creating zombies who were often people caught in a trance rather than reanimated dead. 'Night Of The Living Dead' convinced an entire generation that zombies were in fact marauding undead looking to snack on people which is quite something. There's also incisive social commentary throughout the film, a hallmark of the socially conscious Romero's work.
"I never thought of my guys as zombies, when I made the first film ... To me, zombies were still those boys in the Caribbean doing the wetwork for Bela Lugosi."
- George Romero
George Romero
'Hurdy Gurdy Man' - Donovan
'Night Of The Living Dead' has been remade numerous times, notably by Tom Savini as 'Night Of The Living Dead' (1990) and Jeff Broadstreet as 'Night Of The Living Dead 3D' (2006). 'Night Of The Living Dead : Darkest Dawn' (2015) is an animated retelling of the story and 'Mimesis : Night Of The Living Dead' (2011) is a reimagination. Dan O'Bannon's 'The Return Of The Living Dead' (1985) is a direct descendant and has its roots in a 1977 novel by John Russo. Bill Hinzman, who plays the graveyard zombie seen at the beginning of the movie, directed his own spin-off feature 'Flesheater' (1988).
"George Romero. A great artist, innovator and creator. He changed everything."
- Anthony Bourdain
Bill Hinzman
'Rice Is Nice' - The Lemon Pipers
'Night Of The Living Dead' grossed $12,000,000 domestically and $18,000,000 internationally, earning over 250 times its budget. It wasn't well received by everyone upon its initial release (October 1st, 1968), but it had its champions, and its reputation has grown over time. George Romero went on to direct five more installments in the 'Dead' franchise : 'Dawn Of The Dead' (1978), 'Day Of The Dead' (1985), 'Land Of The Dead' (2005), 'Diary Of The Dead' (2007) and 'Survival Of The Dead' (2009). In 1999, 'Night Of The Living Dead' was selected by the Library of Congress for preservation in the National Film Registry, as a film deemed "culturally, historically, or aesthetically significant." Social events are due to be held in October in Evans City, Pennsylvania to celebrate the film's 50th anniversary.
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Post by Deleted on Jul 12, 2018 0:35:34 GMT
It's very good, it's iconic, but it falls just shy of great in my book.
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Post by wmcclain on Jul 12, 2018 1:52:44 GMT
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Post by petrolino on Jul 12, 2018 1:55:27 GMT
"In retrospect, the sub-shoestring budget and make-it-up-as-you-go production seems like artistic genius."
- wmcclain
It's the punk ethic being fully exhibited before the dawn of punk, and nothing I know of has ever been better than punk.
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Post by Primemovermithrax Pejorative on Jul 12, 2018 2:16:49 GMT
I don't think the perception of zombie really changed until Dawn of the Dead.
And the Italians helped.
Night of the Living Dead was the first political horror film. Or at least the first that seemed to be designed as such.
It doesn't end with an upbeat message of destroying the evil--the idea is that the society IS evil.
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Post by Captain Spencer on Jul 12, 2018 2:19:11 GMT
It's a classic. And it's the kind of horror movie I appreciated better as I got older.
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Post by petrolino on Jul 12, 2018 2:26:17 GMT
I don't think the perception of zombie really changed until Dawn of the Dead. And the Italians helped. Night of the Living Dead was the first political horror film. Or at least the first that seemed to be designed as such. It doesn't end with an upbeat message of destroying the evil--the idea is that the society IS evil. You could be right, but you did also have zombie films made in between that were markedly different due to the influence of 'Night Of The Living Dead'. Jorge Grau even stopped off in the U K for production of 'Let Sleeping Corpses Lie' (1974, aka. 'The Living Dead At The Manchester Morgue'). His countrymen Jose Ramon Larraz and Jess Franco also filmed here during the 1970s.
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Post by Primemovermithrax Pejorative on Jul 12, 2018 2:51:53 GMT
You could be right, but you did also have zombie films made in between that were markedly different due to the influence of 'Night Of The Living Dead'. Jorge Grau even stopped off in the U K for production of 'Let Sleeping Corpses Lie' (1974, aka. 'The Living Dead At The Manchester Morgue'). His countrymen Jose Ramon Larraz and Jess Franco also filmed here during the 1970s. I think the color zombies in Hammer's Plague of the Zombies--despite being Haiti-related, were also a potential influence-at least as circulated visual image (the main zombie with the contact lenses).
As well as the Last Man On Earth--the vampires were lame, but not much different in basic idea to NOTLD in their basic behavior.
One thing that bugged me about that in Super 8 it had the kids making a zombie film. In 1978-79 I do not believe the zombie film craze had caught on in North America and certainly not with amateur filmmakers. Vampires or werewolves or ghouls (the original corpse-eating creature) would have been more likely. I dont recall zombies really getting traction in horror magazines until the early-mid 80s (and Zombi 2 was a big influence-especially on home video).
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Post by petrolino on Jul 12, 2018 2:54:05 GMT
You could be right, but you did also have zombie films made in between that were markedly different due to the influence of 'Night Of The Living Dead'. Jorge Grau even stopped off in the U K for production of 'Let Sleeping Corpses Lie' (1974, aka. 'The Living Dead At The Manchester Morgue'). His countrymen Jose Ramon Larraz and Jess Franco also filmed here during the 1970s. I think the color zombies in Hammer's Plague of the Zombies--despite being Haiti-related, were also a potential influence-at least as circulated visual image (the main zombie with the contact lenses).
As well as the Last Man On Earth--the vampires were lame, but not much different in basic idea to NOTLD in their basic behavior.
One thing that bugged me about that in Super 8 it had the kids making a zombie film. In 1978-79 I do not believe the zombie film craze had caught on in North America and certainly not with amateur filmmakers. Vampires or werewolves or ghouls (the original corpse-eating creature) would have been more likely. I dont recall zombies really getting traction in horror magazines until the early-mid 80s (and Zombi 2 was a big influence-especially on home video).
Sounds like 'Night Of The Living Dead' began as it continued, its reputation growing with the passing years.
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Post by Primemovermithrax Pejorative on Jul 12, 2018 3:13:39 GMT
Sounds like 'Night Of The Living Dead' began as it continued, its reputation growing with the passing years.
It definitely took time because I do not recall it getting much attention in horror books. Famous Monsters, Denis Gifford, William K Everson...I think there were so many other horror movies coming out (1968 was a big year for horror) that it didnt really get the classic label until the time of Return of the Living Dead, and its 20th anniversary in particular.
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Post by petrolino on Jul 12, 2018 3:17:12 GMT
Sounds like 'Night Of The Living Dead' began as it continued, its reputation growing with the passing years.
It definitely took time because I do not recall it getting much attention in horror books. Famous Monsters, Denis Gifford, William K Everson...I think there were so many other horror movies coming out (1968 was a big year for horror) that it didnt really get the classic label until the time of Return of the Living Dead, and its 20th anniversary in particular. Thank God these people finally saw sense. It was biting them on the buttocks all that time, yet they continually resisted. Probably too enamoured by the conservative traditions being re-emphasised by Hammer to accept anything different.
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Post by Primemovermithrax Pejorative on Jul 12, 2018 4:10:16 GMT
Thank God these people finally saw sense. It was biting them on the buttocks all that time, yet they continually resisted. Probably too enamoured by the conservative traditions being re-emphasised by Hammer to accept anything different. In all fairness NOTLD would have been very low on the radar given the competition from AIP, Hammer, Amicus and lots of others. Zombies are not exactly an ambitious kind of monster and the film wasn't even secured in copyright.
I recall Everson, in his book More Classics of the Horror Film, was particularly harsh on some new horror like THE HUNGER. He said he felt sorry for Catherine Deneuve being involved in it but not surprised that Susan Sarandon was.
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Post by petrolino on Jul 12, 2018 4:15:26 GMT
Thank God these people finally saw sense. It was biting them on the buttocks all that time, yet they continually resisted. Probably too enamoured by the conservative traditions being re-emphasised by Hammer to accept anything different. In all fairness NOTLD would have been very low on the radar given the competition from AIP, Hammer, Amicus and lots of others. Zombies are not exactly an ambitious kind of monster and the film wasn't even secured in copyright.
I recall Everson, in his book More Classics of the Horror Film, was particularly harsh on some new horror like THE HUNGER. He said he felt sorry for Catherine Deneuve being involved in it but not surprised that Susan Sarandon was.
Hammer churned out the same old meat and potatoes but I can barely remember anything from Amicus. Tigon wiped the floor with both.
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Post by Primemovermithrax Pejorative on Jul 12, 2018 4:22:58 GMT
Hammer churned out the same old meat and potatoes but I can barely remember anything from Amicus. Tigon wiped the floor with both. Hammer's reputation has grown since the 60s. When their movies came out they were mostly dismissed by mainstream critics but the fan base has continued-even grown. Little Shoppe of Horrors has maintained publication since the early 70s.
Even Amicus' anthology films continue to have fans. Romero films? Ehh not so much.
Tigon had some great films like The Blood on Satan's Claw (a traditional story) but also some failures.
A film that exists only for politics or gore does not have much future security. Once the political message falls out of favor or the gore becomes old hat, the story and characters become the enduring aspects. Honestly the characters in NOTLD are pretty weak.
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Post by Lebowskidoo 🦞 on Jul 12, 2018 9:50:29 GMT
It was brilliant then, it was brilliant when I first saw it, it is still brilliant now. It's one of my favorite horror movies of all time, and I find myself rewatching it a lot. So bold and daring, and creepy as can be, it also leaves you unsettled in several ways. There is no excuse for movie fans who haven't seen it, it has fallen into the public domain and is widely available everywhere.
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Post by petrolino on Jul 12, 2018 11:29:10 GMT
Hammer churned out the same old meat and potatoes but I can barely remember anything from Amicus. Tigon wiped the floor with both. Hammer's reputation has grown since the 60s. When their movies came out they were mostly dismissed by mainstream critics but the fan base has continued-even grown. Little Shoppe of Horrors has maintained publication since the early 70s.
Even Amicus' anthology films continue to have fans. Romero films? Ehh not so much.
Tigon had some great films like The Blood on Satan's Claw (a traditional story) but also some failures.
A film that exists only for politics or gore does not have much future security. Once the political message falls out of favor or the gore becomes old hat, the story and characters become the enduring aspects. Honestly the characters in NOTLD are pretty weak.
I think George Romero's films still have plenty of fans. I like to screen Hammer matinees too, nice viewing on a rainy afternoon.
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Post by petrolino on Jul 12, 2018 11:47:35 GMT
It was brilliant then, it was brilliant when I first saw it, it is still brilliant now. It's one of my favorite horror movies of all time, and I find myself rewatching it a lot. So bold and daring, and creepy as can be, it also leaves you unsettled in several ways. There is no excuse for movie fans who haven't seen it, it has fallen into the public domain and is widely available everywhere. I saw it on tv as a kid. That night, I was convinced a zombie was going to reach up from under the bed and pull me under. I was terrified. I couldn't sleep with my leg hanging out from the blanket. One of the movies that made me a horror fan for life. Now I appreciate the film's many nuances, it only becomes more dazzling to me over time.
I like all the 'Dead' movies to varying degrees. I love 'Dawn', 'Day and 'Diary'. George Romero admitted 'Land' was a bit heavy-handed but as entertainment it gets better with each passing year. For me, the one slightly disappointing entry is 'Survival' but I do like aspects of it. How about you?
'Dawn Of The Dead'
'Day Of The Dead'
'Land Of The Dead'
'Diary Of The Dead'
'Survival Of The Dead'
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Post by Lebowskidoo 🦞 on Jul 12, 2018 11:58:35 GMT
petrolino I loved them all too, except Diary and Survival were both inferior compared to previous movies Romero made.
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Post by wmcclain on Jul 12, 2018 13:53:01 GMT
That night, I was convinced a zombie was going to reach up from under the bed and pull me under. I was terrified. I couldn't sleep with my leg hanging out from the blanket. Stephen King (from memory): "I don't sleep with a foot outside of the blanket. I know a clawed hairy hand is not going to reach up from under the bed and grab it, but if it did I would scream and scream like a little girl. Which would be embarrassing, so best not to risk it." More Romero: Dawn of the Dead (1978)Another micro-budget entry from the early years before the genre caught on: Children Shouldn't Play with Dead Things (1973)
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Post by koskiewicz on Jul 14, 2018 21:46:21 GMT
…it was just the beginning...
Later, Hammer produced "Shock Waves" about Nazi zombies...
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