Zombie : Le Crépuscule des morts-vivants

This movie has always been a big favorite of mine. I went through a zombie phase in high school and this is, hands down, the best zombie film ever made. With all the crap coming out today, it still stands out.

Dawn is a great satire of materialistic modern society. All of the performances are spot on, George Romero's writing and direction is flawless as usual, and the gore is brilliant. What could be better than a bunch of zombies taking over a shopping mall? That's right, nothing.

If you call yourself a horror fan and you haven't seen the original Dawn of the Dead, you need to get with the program immediately! No one messes with Romero, no one!

By turns horrific, hilarious, disgusting and absurd Dawn of the Dead is the work of a director truly on top of his game. Given almost total control (something which was to be denied Romero in later years) George Romero gives us his unique and vivid view of a world in absolute turmoil.

Not just a mockery of the hedonistic and empty America of the late 70's Dawn is also a parable or warning if you like of the brittle structure of society and how easily it can be disintegrated. Many have criticised the film for being too over the top and questioned the quality of the acting. This for me is one of the joys of the film, Romero uses gaudy sets and effects and combines this with comic book hero dialogue to lull us into a false sense of security. Then masterfully Romero pulls the rug out from under us and brings the reality of the situation crashing in on our heads.

Dawn stands alone well but really comes into its own as part of the trilogy to which it belongs. One theory of mine is that the Alien trilogy (forgetting the miserable fourth installment) takes a lot from the dead trilogy namely the pace and claustrophobia of the two which book-end the mass hysteria and over the top horror and violence of the middle film.

Undoubtedly one of the great Horror films of modern time. Or perhaps there is something about being the only people left alive and living in a shopping mall that appeals to the kid in all of us. 10/10

'Dawn of the dead' may lack the pulverising immediacy of 'Night of the Living Dead', but it gains in exhilirating, epic scope. It is one of the best films of the 1970s, a reckless, hubristic, over-ambitious masterpiece whose excess is reined in by its Langian formal precision. The claustrophobia of the first film is replaced by a wider frame of reference, including the media, the military and suburbia; although, typically, the move is once again towards the indoors.

The film starts explosively, inside a panicking TV station trying to report on the inexplicable emergence from the earth of the undead. An assorted quartet - two media, two army; three white, one black; three men, one woman - escape in a helicopter used for rush-hour traffic reports. There is a sense of relief in this, a sense of breaking free from the circle of undead enclosing America's major cities.

But not for long - it seems that modern American man, unlike his pioneering ancestors, cannot stand open spaces, and holes up in a building, a shopping

mall, which is crawling with zombies, and recognised by the woman as a prison. Not content with this level of confinement, our heroes draw plans, erect barriers, shut down grids. Romero pinpoints this national insularity by framing his modern horror movie as a transposed Western, with the foursome as latterday frontiersmen wiping out the natives, and erecting a new civilisation.

Some might say that Romero's irony is a little heavy here - the mock-triumphal Western music on the soundtrack; the composition of the four at the height of the crisis standing in front of a sign with just the letters 'U' and 'S' visible; the glee in the gun culture, including an ersatz Western gun store in the mall the 'Red River' like beseiging of the mall by the 'Indian' Hells' Angels on their motorbike/horses complete with tomahawks. But such irony is never stable - Romero keeps pulling the ground from under the viewers' feet, both in terms of character identification, and the shifting meanings embodied by the zombies.

Romero's terrifying vision is of an America turned in on itself, eating itself through cannibalistic greed, the very system of capitalism based on a cycle of power and repression in which the repressed will never quite go away. 'Night' pulsated with a late 1960s urgency reflecting contemporary social and political upheaval, white capitalist America beseiged by the peoples it had oppressed for centuries. By 1978, that political anger is gone, and America has reverted to being a race of consumer zombies, congregating around massive shopping malls like they're the religious temples of the Incas, trapped there not by the freedom of choice of capitalist propaganda, but mindless instinct.

the zombies are supposed to be the enemy, the Other in conventional horror terms, but the first thing the so-called heroes do on landing at the mall is substitute urgent survival for gleeful consumerism (compare with the very similar silent fantasy, 'Paris Qui Dort'). There's no way to deal with any outside threat because we are numbed and bloated by products. Reality ceases to exist; there are some beautifully surreal scenes, as our heroes make homes in showrooms.

The mall sequence as a whole has a Bunuellian savagery about it, and the film builds up an aggression like the characters until all is chaos - tones, modes, genres all colliding, the 'reality' or 'integrity' or, even, 'seriousness' of the film as much in question as the modern world the protagonists live in, where even time seems to stand still, the weeks of the action compressed into the framework of a day, with the night of the living dead giving onto the dawn. It is probably allegorically significant which characters survive, but by the end we're not sure whether we're watching a horror, a comedy, a thriller, a Western, or a very bitter joke. Certainly scarier than 'The Stepford Wives'

If only every horror movie was made with such determination as this one. A zombie classic, Dawn of the Dead succeeds in every aspect. It has enough violence and gore to gratify any horror fan, and then some! The weird thing is that the gore in this movie isn't unnecessary, it suits the purpose. In this sequel to the classic Night of the Living Dead, the zombies have taken over the land and have spread to immense numbers. A group of people escape the carnage in a helicopter, and take refuge in a huge mall where they can live off the supplies inside for years. They have to fend off the zombies trying to get in, as well as a sadistic group of bikers who want to loot the place. Great film, lots of gory action and flesh-munching. Make sure to check out the newly remastered director's cut for terrific picture and sound, and extra footage.

Thoughtful if unsubtle epic follow-up to Night of the Living Dead was one of THE influential movies of the late 70's; pity, then, that the people it influenced paid more attention to the amped-up gore than to the sense of contained hysteria that makes what should be tough going (there are basically three scenes in this movie: zombies attack people, people attack zombies, people stand around talking) a uniquely involving and provocative self-analysis of the zombie film.

The symbolism is, well, not delicate. Just in case we missed it the first time, the trope that the mall attracts the zombies "because it was an important place to them" is repeated for our rumination. But the overall sustained atmosphere, inside and outside of the banal environment of the shopping mall, is by far the film's salient contribution; even when there is no obvious action onscreen, there is the threat of an attack to come, and the clock is clearly ticking on the four protagonists during their idyll. Moreover, it takes the conspicuously familiar and catapults it into an apocalyptic situation, creating a powerful sense of displacement.

The violence, which is primarily what draws people to or repels them from this movie, comes on strong, but quickly becomes monotonous (as it is, the vast majority of the violence in the movie is inflicted against the zombies rather than by them, though is none the less repulsive for that); the scariest part of the movie is how plausible it makes the concept of total disintegration of what we perceive as civilization. The soundtrack, highlighting pulsing, insistent synthesizer chords, contributes much to the onscreen tension, which the action choreography is exemplary. An unlikely masterpiece.