Welcome to The George A. Romero Zombie Cycle Film Festival. Join The Dork Report in revisiting all five canonical episodes in the original epic zombie saga:
- Part I: Night of the Living Dead
- Part II: Dawn of the Dead
- Part III: Day of the Dead
- Part IV: Land of the Dead
- Part V: Diary of the Dead
Day of the Dead (1985) is the third episode in George A. Romero’s continuing tale of civilization’s collapse in the event of a global zombie epidemic. This and the big-budget Land of the Dead (2005) are tied for the worst entries in the series. What makes the first two (Night and Dawn) of merit is their surprisingly acute social satire, but here Romero loses his critical focus in favor of gore and general unpleasantry with little redeeming value.
After the initial wave of undead in Night of the Living Dead and the collapse of cities and suburbia in Dawn of the Dead, Romero now jumps still forward in time. Several months into the zombie plague, a dozen humans huddle isolated in an underground bunker. Their fortress is sufficient to protect them from the barbarians outside the gates, but they have lost radio contact with the outside world. They make occasional sorties to nearby cities via helicopter, but encounter nothing but more hordes of zombies. For all they know, they are the last humans on the planet.
When there’s no more room in hell, zombies will break through the styrofoam walls
The disparate batch of survivors in Night of the Living dead was essentially a cross-section of civilization, but Romero narrows his focus here onto the military and scientific worlds. The humans trapped underground include three scientists, two civilians, and seven soldiers. All of them are slowly losing their minds save for level-headed scientist Dr. Sarah Bowman (Lori Cardille), valiantly researching a cure. As is now customary in Romero’s zombie flicks, Sarah is an atypical protagonist for a horror movie. The most capable and sane character in Night of the Living Dead was a black man (Duane Jones), a huge deal for movies of any genre in 1968, and still rare now. Sarah is a woman, another social group historically subjugated by society, not to mention typically reduced to screaming eye candy in horror movies.
The nerve-wracking 28 Days Later (2002), director Danny Boyle’s contribution to the zombie genre, borrowed this scenario of an isolated batch of male soldiers acting without command, surrounded on all sides by hostile forces, and locked in a fortress with only one woman. Not surprisingly, things get ugly. To a one, the soldiers are despicably racist and illogical. But leader Captain Rhodes (Joe Pilato) is actually correct about one key fact of their situation: the head scientist they have been ordered to defer to is indeed totally mad. Dr. Matthew “Frankenstein” Logan (Richard Liberty) is more interested in domesticating zombies into slaves than he is in either curing (as Sarah is trying to do) or eradicating them (as, naturally, the soldiers would have it). His star lab rat is a captive zombie dubbed Bub (Sherman Howard). The chained and tortured Bob is surprisingly sympathetic, possibly even moreso than heroine Sarah. He’s also the first instance in Romero’s movies of an intelligent, self-aware breed of zombie we won’t see again until twenty years later in Land of the Dead. But neither film makes much of the concept of zombies as a new life form, as opposed to the classic remorseless adversary typical for the genre.
Bub Zombie wants his MTV
As discussed in The Dork Report’s review of Night of the Living Dead, one key aspect of the zombie genre that has fueled its continuing appeal over the years is that a plague is a great leveler. Everyone is vulnerable to disease. Everyone is equal after death (or is that undeath?), be they male or female, rich or poor, of any race. And for the survivors, once society breaks down (and it always does when the undead walk the streets), all the money and creature comforts in the world become irrelevant.
Must read: Homepage of the Dead’s complete Day of the Dead archives, including the original script
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