Depois de uma crescente epidemia de zumbis que se levantaram dos mortos, dois SWAT da Filadélfia, um repórter de trânsito e sua namorada, uma executiva de TV, procuram refúgio em um centro c... Ler tudoDepois de uma crescente epidemia de zumbis que se levantaram dos mortos, dois SWAT da Filadélfia, um repórter de trânsito e sua namorada, uma executiva de TV, procuram refúgio em um centro comercial isolado.Depois de uma crescente epidemia de zumbis que se levantaram dos mortos, dois SWAT da Filadélfia, um repórter de trânsito e sua namorada, uma executiva de TV, procuram refúgio em um centro comercial isolado.
- Prêmios
- 3 vitórias e 2 indicações no total
- Wooley
- (as Jim Baffico)
Avaliações em destaque
Romero didn't originally want to do *any* sequel to his original 'Night', but after a visit by some friends to a soon-to-open mall nearby his hometown of Pittsburgh, it struck a chord as to who would be coming here – and what so much consumerism in one place would mean. "Why do they come here?" one of the four survivors that happens upon this mall swarming with these flesh-eaters asks another. "This meant something to them. Instinct, maybe. This was an important part of their lives," he responds.
I don't think necessarily Romero meant to show the film as any sort of 'This is what will happen!" type of social horror thing. It's more about, this is where we are at NOW, and in that sense, though broader and a whole LOT bloodier, it holds a place right next to a film like Network as one of the magnificent satires of its time and place, and as much about what the public is like. Romero acts as both pessimist and optimist in this world though; past all the chopped limbs, exploding heads (oh yeah!), Tom Savini stunt and make-up and intestines ripped apart, what holds up the film for me is seeing these four characters come to grip with the horror they've made for themselves, holding up in this "paradise" of a mall.
Balls-to-the-wall horror, social horror, and some genuine paranoid horror stuff (note to self, never try and fire a gun at a single zombie when in a dark room full of electrical wiring and pipes), and plenty of rock and roll attitude, this is a personal favorite and the most entertaining horror film of its time. And the Goblin music soundtrack yummy.
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
Você sabia?
- CuriosidadesTom Savini chose the gray color for the zombies' skin, since A Noite dos Mortos-Vivos (1968) was in B&W and the zombie skin-tone was not depicted. He later said it was a mistake, because many of them ended up looking quite blue on film.
- Erros de gravaçãoWhen Roger runs out of a truck and back toward the mall, one particular zombie in a red-and-black striped shirt gets out of character and decides to tuck in his shirt.
- Citações
Francine Parker: They're still here.
Stephen: They're after us. They know we're still in here.
Peter: They're after the place. They don't know why; they just remember. Remember that they want to be in here.
Francine Parker: What the hell are they?
Peter: They're us, that's all. There's no more room in hell.
Stephen: What?
Peter: Something my granddaddy used to tell us. You know Macumba? Voodoo. Granddad was a priest in Trinidad. Used to tell us, "When there's no more room in hell, the dead will walk the Earth."
- Cenas durante ou pós-créditosGeorge A. Romero appears on screen as a TV Station Director (the bearded man wearing a scarf and a blue shirt) as his name appears, listing him as "Editor", in the on-screen credits beneath him.
- Versões alternativasThe original UK cinema version (aka Romero's 'theatrical print') was cut by 3 mins 46 secs by the BBFC to remove an exploding head and a screwdriver killing plus stabbings and scenes of disembowelment, and the 1989 video version lost a further 12 secs of gore and shooting plus a scene of a woman's neck being bitten during the housing project sequence. Some cuts were restored in the alternate 1997 Directors Cut video although 6 secs remained missing including the exploding head, neck bite and an additional edit to the shooting of the two zombie children (in response to the 1997 Dunblane massacre). All cuts were fully waived in 2003 from both the Directors Cut and the original theatrical versions. The later Blu-Ray release by Arrow was uncut as well.
- ConexõesEdited into Heads Blow Up! (2011)
Principais escolhas
Detalhes
- Data de lançamento
- Países de origem
- Idiomas
- Também conhecido como
- Despertar dos Mortos
- Locações de filme
- Monroeville Mall - Business Route 22, Monroeville, Pensilvânia, EUA(the shopping mall)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 650.000 (estimativa)
- Faturamento bruto mundial
- US$ 159.822
- Tempo de duração
- 2 h 7 min(127 min)
- Mixagem de som