Night of the Living Dead
, directed by George Romero, is a 1968 independent black-and-white zombie film. Ben (Duane Jones) and Barbara (Judith O'Dea) are the protagonists of a story about the mysterious reanimation of the recently dead, and their efforts, along with five other people, to survive the night while trapped in a rural Pennsylvania farmhouse.
George Romero completed the film on a $114,000 budget, and after a decade of cinematic re-releases, it grossed some $12 million domestically and $30 million internationally. [1] [2] On its release in 1968, Night of the Living Dead
was strongly criticized for its explicit content, but in 1999, the Library of Congress placed it on the National Film Registry as a film deemed "historically, culturally or aesthetically important". [3]
Night of the Living Dead
was cited by many as being a groundbreaking film, given its release during the Vietnam-era, due to perceived critiques of late-1960s U.S. society; a historian described it as "subversive on many levels". [4] Although it is not the first zombie film, Night of the Living Dead
is the progenitor of the contemporary 'zombie apocalypse' sub-genre of horror film, and it influenced the modern pop-culture zombie archetype. [5] Night of the Living Dead
(1968), is the first of six Dead
films directed by George Romero, and twice has been remade, as a film of the same name in 1990, directed by Tom Savini, and as Night of the Living Dead 3D
in 2006.
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NIGHT OF THE LIVING DEAD TICKETS
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Plot
Siblings Barbra (
Judith O'Dea) and Johnny (
Russell Streiner) drive to a rural
Pennsylvania cemetery to place a cross with flowers on their father's grave. Johnny teases his sister, who is afraid of cemeteries, taunting, "They're coming to get you, Barbra!" A pale-faced man (
S. William Hinzman) suddenly grabs Barbra and Johnny rushes to save her. While fighting the man, Johnny falls and hits his head on a gravestone, killing him. Barbra flees in Johnny's car, but without the key, driving it downhill into a tree. She abandons the car and runs into a nearby farmhouse to hide. She soon finds, however, that others like the man are outside. While exploring the empty house, she discovers a hideously mutilated corpse at the top of the stairs.
While attempting to flee the house, Barbra encounters Ben (
Duane Jones), who arrives in a
pickup truck and attacks the mysterious figures with a
tire iron. After subduing one of them, Ben sets the body on fire, scaring off the others. Ben boards up the doors and windows from the inside, and takes a chair outside and scares off the attackers with fire. Ben finds a rifle and a radio as Barbra lies
catatonic. The two are unaware that Harry and Helen Cooper (
Karl Hardman and
Marilyn Eastman), their daughter Karen (
Kyra Schon), and teenage couple Tom (
Keith Wayne) and Judy (
Judith Ridley) have been hiding in the
cellar until later. One of the attackers bit Karen earlier and she has fallen ill. Harry wants the group to barricade themselves in the cellar, but Ben argues that they would, effectively, be trapping themselves. Ben carries the argument, and the group cooperates to reinforce the main part of the house.
Radio reports explain that an epidemic of
mass murder is sweeping across the
eastern seaboard. Later, Ben discovers a television upstairs and the
emergency broadcaster reveals that the creatures are consuming their victims' flesh. A subsequent broadcast reports that the murders are being perpetrated by the recently deceased who have returned to life. Experts, scientists and military are not sure of the cause of the reanimation, but one scientist is certain that it is the result of
radiation emanating from a
Venus space probe that exploded in the
Earth's
atmosphere. A final report instructs that a gunshot or heavy blow to the head will stop the "
ghouls" and that
posses of armed men are patrolling the countryside to restore order.
Ben devises a plan to escape using his truck involving all of the men in the house. The truck is in need of fuel, so Ben and Tom go to an outside gas pump, while Harry hurls
Molotov cocktails from an upper window. On the way out the door, Judy fears for Tom's safety and chases after him. Upon arriving at the pump, Ben places a torch on the ground next to the truck, and Tom carelessly splashes gasoline onto the torch, starting a fire that quickly engulfs the truck. Tom tries to drive the truck away from the gas pumps to avoid further damage, but when he goes to exit the truck, Judy gets stuck. Tom goes back into the truck to help her, but the truck explodes, killing them both. Ben runs back to the house to find that Harry has locked him out. He kicks the door open and, in a fury, gives Harry a fierce beating.
Some of the living dead converge upon the truck and begin eating Tom and Judy's charred remains. Meanwhile, others try to break through the doors and windows of the house. Ben manages to hold them back, but drops his rifle. Harry seizes the fallen rifle and turns it on Ben, who wrestles it away from Harry and shoots him. Harry stumbles into the cellar and dies.
Shortly after, Helen discovers that her daughter Karen has been transformed into one of the living dead and is consuming her father's corpse. Karen repeatedly stabs her mother with a
cement trowel, killing her, before going upstairs. Meanwhile, the undead finally break into the house and Barbra sees her brother Johnny among them. The zombies overwhelm Barbra and carry her off. It is unknown whether or not Barbra survives her encounter with the zombies. Ben retreats into the cellar, locking the door behind him, ironically taking the course of action that Harry had recommended in the first place. He shoots the reanimated Harry and Helen Cooper, and waits out until morning, hoping for any chance of escaping the zombies.
In the morning, a posse approaches the house, hunting the remaining zombies. Hearing the commotion, Ben ambles up the cellar stairs into the living room, and peeks out the window, trying to decide if the coast is clear. One of the posse members, mistaking him for a zombie, shoots and kills him. His body is carried from the house and burned with the other zombie corpses as the closing credits roll.
Production
While attending
Carnegie Mellon University in
Pittsburgh, Romero embarked upon his career in the
film industry. In the 1960s, he directed and produced television commercials and
industrial films for The Latent Image, a company he co-founded with friends
John Russo and Russell Streiner. During this period, the trio grew bored making commercials and wanted to film a horror movie. According to Romero, they wanted to capitalize on the film industry's "thirst for the bizarre".
[6] He and Streiner contacted Karl Hardman and Marilyn Eastman, president and vice president respectively of a Pittsburgh-based industrial film firm called Hardman Associates, Inc., and pitched their idea for a then-untitled horror film.
[7] Convinced by Romero, a production company called Image Ten was formed which included Romero, Russo, Streiner, Hardman and Eastman. Image Ten raised approximately $114,000 for the budget.
[8]
The small budget dictated much of the production process. According to Hardman, "We knew that we could not raise enough money to shoot a film on a par with the classic horror films with which we had all grown up. The best that we could do was to place our cast in a remote spot and then bring the horror to be visited on them in that spot".
Scenes were filmed near
Evans City, Pennsylvania, north of Pittsburgh in rural
Butler County; the opening sequence was shot at the Evans City Cemetery on Franklin Road, south of the borough. The indoor scenes (upstairs) were filmed in a downtown Evans City home that later became the offices of a prominent local physician and family doctor (Allsop). This home is still standing on South Washington St. (locally called
Mars-Evans City Road), between the intersecting streets of South Jackson and Van Buren. The outdoor and basement scenes were filmed at a location northeast of Evans City, near a park (that house has since been razed, by actor Duane Jones who played the character "Ben" in the film, resulting in his death in 1988).
[9] [10]
Props and
special effects were fairly simple and limited by the budget. The blood, for example, was
Bosco Chocolate Syrup drizzled over cast members' bodies.
[11] Consumed flesh was roasted ham. Costumes consisted of second-hand clothing, and mortician's wax served as zombie makeup. Eastman supervised the special effects, wardrobe and makeup.
Filming took place between June and December 1967 under the working title
Night of Anubis
and later
Night of the Flesh Eaters
.
[12] [13] The small budget led Romero to shoot on
35 mm black-and-white film. The completed film ultimately benefited from the decision, as film historian Joseph Maddrey describes the black-and-white filming as "
guerrilla-style", resembling "the unflinching authority of a wartime
newsreel". Maddrey adds, it "seem[s] as much like a documentary on the loss of social stability as an
exploitation film".
[14]
Members of Image Ten were involved in filming and
post-production, participating in loading
camera magazines,
gaffing, constructing props, recording sounds and editing.
Production stills were shot and printed by Karl Hardman, who stated in an interview that a "number of cast members formed a production line in the darkroom for developing, washing and drying of the prints as I made the exposures. As I recall, I shot over 1,250 pictures during the production".
Upon completion of post-production, Image Ten found it difficult to secure a distributor willing to show the film with the gruesome scenes intact.
Columbia and
American International Pictures declined after requests to soften it and re-shoot the final scene were rejected by producers.
[15] Romero admitted that "none of us wanted to do that. We couldn't imagine a happy ending. . . . Everyone want[ed] a Hollywood ending, but we stuck to our guns".
[16] The
Manhattan-based
Walter Reade Organization agreed to show the film uncensored, but changed the title from
Night of the Flesh Eaters
to
Night of the Living Dead
because a film had already been produced under a
similar title to the former.
Writing
Co-written as a
horror comedy by John Russo and George A. Romero under the title
Monster Flick
[12], an early screenplay draft concerned the exploits of teenage
aliens who visit
Earth and befriend human teenagers. A second version of the script featured a young man who runs away from home and discovers rotting human corpses that aliens use for food scattered across a meadow. The final draft, written mainly by Romero during three days in 1967, focused on reanimated human corpses — Romero refers to them as
ghouls
— that feast on the flesh of the living.
[18] In a 1997 interview with the
BBC's
Forbidden Weekend
, Romero explained that the script developed into a three-part
short story. Part one became
Night of the Living Dead
. Sequels
Dawn of the Dead
(1978) and
Day of the Dead
(1985) were adapted from the two remaining parts.
[19]
Romero drew inspiration from
Richard Matheson's
I Am Legend
(1954), a
horror/science fiction novel about a
plague that ravages a futuristic
Los Angeles. The deceased in
I Am Legend
return to life as
vampires and prey on the uninfected.
[20] [21] Discussing the creation of
Night of the Living Dead
, Romero remarked, "I had written a short story, which I basically had ripped off from a Richard Matheson novel called
I Am Legend
."
[22] Romero further explained:
Official
film adaptations of Matheson's novel appeared in 1964 as
The Last Man on Earth
, in 1971 as
The Omega Man
, and the 2007 release
I Am Legend
. Matheson was not impressed by Romero's interpretation, feeling that "It was ... kind of cornball",
[24] though he later said, "George Romero's a nice guy, though. I don't harbor any animosity toward him".
[25] Regarding Romero's use of
I Am Legend
as inspiration, critic Danél Griffin remarked, "Romero freely admits that his film was a direct rip-off of Matheson's novel; I would be a little less harsh in my description and say that Romero merely expanded the author’s ideas with deviations so completely original that [
Night of the Living Dead
] is expelled from being labeled a true 'rip-off'."
[26]
Russo and Romero revised the screenplay while filming. Karl Hardman attributed the edits to lead actor Duane Jones:
“
| The script had been written with the character Ben as a rather simple truck driver. His dialogue was that of a lower class / uneducated person. Duane Jones was a very well educated man [and he] simply refused to do the role as it was written. As I recall, I believe that Duane himself upgraded his own dialogue to reflect how he felt the character should present himself.
| ”
|
Eastman modified cellar scenes featuring dialogue between Helen and Harry Cooper.
According to lead actress Judith O'Dea, much of the dialogue was
improvised. She told an interviewer, "I don't know if there was an actual working script! We would go over what basically had to be done, then just did it the way we each felt it
should
be done".
[27] One example offered by O'Dea concerns a scene where Barbra tells Ben about Johnny's death:
“
| The sequence where Ben is breaking up the table to block the entrance and I'm on the couch and start telling him the story of what happened [to Johnny] it's all Ad libitum
| ”
|
Casting
thumb
The lead role of Ben was played by unknown stage actor Duane Jones. His performance depicted Ben as a "comparatively calm and resourceful
Negro", according to a contemporary (1969) movie reviewer.
[28] Casting Jones as the hero was, in 1968, potentially controversial. At the time, it was not typical for a black man to be the hero of a film the cast of which included white actors and actresses. Social commentators saw that casting as significant; on the other hand, Romero said that Jones "simply gave the best audition".
[29] After
Night of the Living Dead
, he co-starred in
Ganja and Hess
(1973),
Vampires
(1986),
Negatives
(1988) and
To Die For
(1989) before his death in 1988.
[30] Despite his other film roles, Jones worried that people only recognized him as Ben.
[31]
Judith O'Dea, a 23-year-old commercial and stage actress, played Barbra. She had once worked for Hardman and Eastman in
Pittsburgh, so they called her to audition. O'Dea was in
Hollywood seeking to enter the movie business. She remarked in an interview that starring in the film was a positive experience for her, although she admitted that horror movies terrified her, particularly
Vincent Price's House of Wax
(1953). Besides acting, O'Dea performed her own stunts, which she jokingly says amounted to "lots of running". Assessing
Night of the Living Dead
, she states "I honestly had no idea it would have such a lasting impact on our culture". She was just as surprised by the renown the film brought her: "People treat you differently. [I'm]
ho-hum Judy O'Dea until they realize [I'm] Barbra from
Night of the Living Dead
. All of a sudden [I'm] not so ho-hum anymore!"
Following
Night of the Living Dead
, O'Dea appeared in the television film
The Pirate
in 1978 and feature films
Claustrophobia
,
October Moon
, and
The Ocean
.
[32]
The supporting cast had no experience in the film industry prior to
Night of the Living Dead
. The role of Tom remained Keith Wayne's only film role (he committed
suicide in 1995),
[33] but Judith Ridley co-starred in Romero's
There's Always Vanilla
(1971).
[34] The cemetery zombie who kills Johnny in the first scene was played by
S. William Hinzman, in a role that launched his horror film career. Hinzman was later involved in the films
Season of the Witch
(1973),
Flesheater
(1988),
Legion of the Night
(1995),
Santa Claws
(1996), and
Evil Ambitions
(1996).
[35]
Cast members Karl Hardman, Marilyn Eastman and Russell Streiner performed prominent acting roles. Hardman and Eastman co-starred as Harry and Helen Cooper (Eastman also played the female zombie who plucks an insect off a tree and eats it) while Streiner played Johnny, Barbra's brother. Hardman's 11-year-old daughter,
Kyra Schon, played Karen Cooper. Image Ten's
production manager, George Kosana, played Sheriff McClelland.
[36] Romero's friends and acquaintances were recruited as zombie
extras. Romero stated, "We had a film company doing commercials and industrial films so there were a lot of people from the advertising game who all wanted to come out and be zombies, and a lot of them did". He adds amusingly, "Some people from around Evans City who just thought it was a goof came out to get caked in makeup and lumber around".
[37]
Directing
Night of the Living Dead
was the first feature-length film directed by George A. Romero. His initial work involved filming
shorts for Pittsburgh public broadcaster
WQED's children's series
Mister Rogers' Neighborhood
.
[38] Romero's decision to direct
Night of the Living Dead
essentially launched his career as a horror director. He took the helm of the sequels as well as
Season of the Witch
,
The Crazies
(1973),
Martin
(1977),
Creepshow
(1982) and
The Dark Half
(1993).
[39] Critics saw the influence of the horror and science-fiction films of the 1950s in Romero's directorial style. Stephen Paul Miller, for instance, witnessed "a revival of fifties schlock shock... and the army general's television discussion of military operations in the film echoes the often inevitable calling-in of the army in fifties horror films". Miller admits, however, that "
Night of the Living Dead
takes greater relish in mocking these military operations through the general's pompous demeanor" and the government's inability to source the zombie epidemic or protect the citizenry.
[40] Romero describes the mood he wished to establish: "The film opens with a situation that has already disintegrated to a point of little hope, and it moves progressively toward absolute despair and ultimate tragedy".
[41] According to film historian Carl Royer, Romero "employs
chiaroscuro (
film noir style) lighting to emphasize humanity's nightmare alienation from itself".
[42]
While some critics dismissed Romero's film because of the graphic scenes, writer
R. H. W. Dillard claimed that the "open-eyed detailing" of
taboo heightened the film's success. He asks, "What girl has not, at one time or another, wished to kill her mother? And Karen, in the film, offers a particularly vivid opportunity to commit the forbidden deed vicariously."
[43] Romero featured social taboos as key themes, particularly
cannibalism. Although zombie cannibals were inspired by Matheson's
I Am Legend
, film historian Robin Wood sees the flesh-eating scenes of
Night of the Living Dead
as a late-1960s critique of American
capitalism. Wood asserts that the zombies represent capitalists, and "cannibalism represents the ultimate in possessiveness, hence the logical end of human relations under capitalism." He argues that the zombies' victims symbolized the repression of "
the Other" in
bourgeoisie American society, namely
civil rights activists,
feminists,
homosexuals and
counterculturalists in general.
[44]
Music and sound effects
The
music score of
Night of the Living Dead
was not composed for the film; Karl Hardman told an interviewer that the music came from the extensive film music library of WRS Studio. Much of what was used in the film was purchased from the library of
Capitol Records, and an album of the soundtrack was released at one point. Stock music selections included works by WRS sound tech, Richard Lococo, Philip Green,
Geordie Hormel,
William Loose,
Jack Meakin and
Spencer Moore.
Some of the music in the film had previously been used on the soundtrack for the science-fiction
B-movie Teenagers from Outer Space
(1959). The eerie musical piece during the tense scene in the film where Ben finds the rifle in the closet inside the farmhouse as the radio reports of mayhem play in the background can be heard in longer and more complete form during the opening credits and the beginning of
The Devil's Messenger
(1961) starring
Lon Chaney Jr. Another piece, accompanying Barbara's flight from the cemetery zombie, was taken from the score for
The Hideous Sun Demon
(1959) and had also been used in the final episode of television's
The Fugitive
, which had aired one year earlier.
According to WRS, "We chose a selection of music for each of the various scenes and then George made the final selections. We then took those selections and augmented them electronically". Sound tech R.Lococo's choices worked well, as Film historian Sumiko Higashi believes that the music "signifies the nature of events that await".
[45]
Sound effects were created by WRS Studio in Pittsburgh. "Sound engineer Richard Lococo recorded all of the live sound effects used in the film". Lococo recalled, "Of all the sound effects that we created, the one that still gives me goose bumps when I hear it, is Marilyn's screaming as [Helen Cooper] is killed by her daughter. Judy O'Dea's screaming is a close second. Both were looped in and out of echo over and over again".
A
soundtrack album featuring music and dialogue cues from the film was compiled and released by
Varese Sarabande in 1982; however, it has never been reissued on
CD.
Reception
Night of the Living Dead
premiered on October 1, 1968 at the Fulton Theater in Pittsburgh.
Nationally, it was shown as a Saturday afternoon matinée — as was typical for horror films at the time — and attracted an audience consisting of
pre-teens and
adolescents.
[46] [47] The
MPAA film rating system was not in place until November 1968, so even young children were not prohibited from purchasing tickets.
Roger Ebert of the
Chicago Sun-Times
chided theater owners and parents who allowed children access to the film. "I don't think the younger kids really knew what hit them," he said. "They were used to going to movies, sure, and they'd seen some horror movies before, sure, but this was something else." According to Ebert, the film affected the audience immediately:
“
| Insert the text of the quote here, without quotation marks.
| ”
|
One commentator asserts that the film garnered little attention from critics, "except to provoke argument about
censoring its grisly scenes".
[48] Despite the controversy, five years after the premiere Paul McCullough of
Take One
observed that
Night of the Living Dead
was the "most profitable horror film ever [...] produced outside the walls of a major studio".
[49] The film had earned between $12 and $15 million at the American
box office after a decade. It was translated into more than 25 languages and released across Europe, Canada and Australia.
Night of the Living Dead
grossed $30 million internationally, and the
Wall Street Journal
reported that it was the top grossing film in
Europe in 1969.
[50]
Night of the Living Dead
was awarded two distinguished honors 30 years after the debut. The
Library of Congress added it to the
National Film Registry in 1999 with other films deemed "historically, culturally or aesthetically important in any way".
[51] In 2001, the
American Film Institute named the film to a list of one hundred important horror and
thriller films,
100 Years...100 Thrills
.
[52] This film was #9 on
Bravo's
100 Scariest Movie Moments
.
Reviews
Reviewers disliked the film's gory special effects.
Variety
labeled
Night of the Living Dead
an "unrelieved
orgy of
sadism" and questioned the "integrity and social responsibility of its Pittsburgh-based makers".
[53] New York Times
critic
Vincent Canby referred to the film as a "junk movie" as well as "spare, uncluttered, but really silly."
[54]
Nevertheless, some reviewers cited the film as groundbreaking.
Pauline Kael called the film "one of the most gruesomely terrifying movies ever made — and when you leave the theatre you may wish you could forget the whole horrible experience. . . . The film's grainy, banal seriousness works for it — gives it a crude
realism".
[55] A
Film Daily
critic commented, "This is a pearl of a horror picture which exhibits all the earmarks of a
sleeper."
[56] While Roger Ebert criticized the matinée screening, he admitted that he "admires the movie itself".
Critic
Rex Reed wrote, "If you want to see what turns a
B movie into a classic [...] don't miss
Night of the Living Dead
. It is unthinkable for anyone seriously interested in horror movies not to see it."
[57]
Since the release, critics and film historians have seen
Night of the Living Dead
as a subversive film that critiques 1960s American society, international
Cold War politics and domestic
racism. Elliot Stein of
The Village Voice
saw the film as an ardent critique of American involvement in
Vietnam, arguing that it "was not set in
Transylvania, but Pennsylvania — this was
Middle America at war, and the zombie carnage seemed a grotesque echo of the conflict then raging in
Vietnam".
[58] Film historian Sumiko Higashi concurs, arguing that
Night of the Living Dead
was a horror film about the horrors of the Vietnam era. While she asserts that "there are no Vietnamese in
Night of the Living Dead
, [...] they constitute an absent presence whose significance can be understood if narrative is construed". She points to aspects of the Vietnam War paralleled in the film: grainy black-and-white newsreels,
search-and-destroy operations, helicopters, and graphic carnage.
[59]
While George Romero denies he hired Duane Jones simply because he was black, reviewer Mark Deming notes that "the grim fate of Duane Jones, the sole heroic figure and only African-American, had added resonance with the assassinations of
Martin Luther King, Jr. and
Malcolm X fresh in the minds of most Americans."
[60] Stein adds, "In this first-ever subversive horror movie, the resourceful black hero survives the zombies only to be killed by a
redneck posse".
The deaths of Ben, Barbra and the supporting cast offered audiences an uncomfortable,
nihilistic glimpse unusual for the genre.
[61]
The treatment of female characters attracted criticism from
feminist scholars and critics. Women are portrayed as helpless and often excluded from the decision-making process by the male characters. Barbra suffers a psychological breakdown so severe after the loss of her brother that she is reduced to a semi-
catatonic state for much of the film. Judy is portrayed in an extreme state of
denial, leading to her own death and that of her boyfriend. Helen Cooper, while initially strong-willed, becomes immobilized and dies as a result.
Other prevalent themes included "
disillusionment with government and
patriarchal nuclear family"
and "the flaws inherent in the media, local and federal government agencies, and the entire mechanism of
civil defense".
[62] Film historian Linda Badley explains that the film was so horrifying because the monsters were not creatures from
Outer Space or some exotic environment, "They're us".
[63] Romero confessed that the film was designed to reflect the tensions of the time: "It was 1968, man. Everybody had a 'message'. The anger and attitude and all that's there is just because it was the Sixties. We lived at the farmhouse, so we were always into raps about the implication and the meaning, so some of that crept in."
[64]
Influence
Romero revolutionized the horror film genre with
Night of the Living Dead
; per Almar Haflidason, of the BBC, the film represented "a new dawn in horror film-making".
[65] The film has also effectively redefined the use of the term Zombie. Early
zombie films like
Victor Halperin's White Zombie
(1932) and
Jacques Tourneur's I Walked with a Zombie
(1943) concerned living people
enslaved by a
Voodoo witch doctor; many were set in the
Caribbean.
The film and its successors spawned countless imitators that borrowed elements instituted by Romero:
Tombs of the Blind Dead
,
Zombie
,
Hell of the Living Dead
,
The Evil Dead
,
Night of the Comet
,
Return of the Living Dead
,
Night of the Creeps
,
Braindead
,
Children of the Living Dead
, and the video game series
Resident Evil
(later adapted as films in
2002,
2004, and
2007),
Dead Rising
, and
House of the Dead
.
Night of the Living Dead
is
parodied in films such as
Night of the Living Bread
and
Shaun of the Dead
, and in
episodes of
The Simpsons
("
Treehouse of Horror III", 1992),
South Park
("
Pink Eye", 1997; "
Night of the Living Homeless", 2007) and
Invader Zim
(
Halloween Spectacular of Spooky Doom
, 2001;).
[66] [67] [68] The word
zombie
is never used, but Romero's film introduced the theme of zombies as reanimated, flesh-eating cannibals.
[69] [70]
Night of the Living Dead
ushered in the
splatter film sub-genre. As one film historian points out, horror prior to Romero's film had mostly involved rubber masks and costumes, cardboard sets, or mysterious figures lurking in the shadows. They were set in locations far removed from rural and
suburban America.
[71] Romero revealed the power behind
exploitation and setting horror in ordinary, unexceptional locations and offered a template for making an "effective and lucrative" film on a "minuscule budget".
Slasher films of the 1970s and 80s such as
John Carpenter's
Halloween
(1978),
Sean S. Cunningham's
Friday the 13th
(1980), and
Wes Craven's
A Nightmare on Elm Street
(1984), for example, "owe much to the original
Night of the Living Dead
".
[72]
Revisions
The first revisions of
Night of the Living Dead
involved
colorization by home video distributors.
Hal Roach Studios released a colorized version in 1986 that featured ghouls with pale green skin.
[73] Another colorized version appeared in 1997 from
Anchor Bay Entertainment with flesh-colored zombies.
[74] In 2004,
Legend Films produced a new colorized version. Technology critic Gary W. Tooze wrote that "The colorization is damn impressive", but noticed the print used was not as sharp as other releases of the film.
[75] In 2009, Legend Films coproduced a colorized
3-D version of the film with PassmoreLab, a company that converts 2-D film into 3-D format. This version will receive a full theatrical release in Europe, followed by a limited theatrical release in the United States.
[76] According to Legend Films founder Barry Sandrew,
Night of the Living Dead
is the first entirely live action 2-D film to be converted to 3-D.
[77]
Co-writer
John Russo released a modified version in 1999
Night of the Living Dead: 30th Anniversary Edition
.
[78] He filmed additional scenes and recorded a revised soundtrack composed by Scott Vladimir Licina. In an interview with
Fangoria
magazine, Russo explained that he wanted to "give the movie a more modern pace".
[79] Russo took liberties with the original script. The additions are neither clearly identified nor even listed. However,
Entertainment Weekly
reported "no bad blood" between Russo and Romero. The magazine, however, quoted Romero as saying, "I didn't want to touch
Night of the Living Dead
".
[80] Critics panned the revised film, notably
Harry Knowles of
Ain't It Cool News
. Knowles promised to permanently ban anyone from his publication who offered positive criticism of the film.
[81] A collaborative
animated project known as
Night of the Living Dead: Reanimated
is due for theatrical and DVD release in late 2009. This project aims to "reanimate" the 1968 film by replacing Romero's celluloid images with animation done in a wide variety of styles by artists from around the world, laid over the original audio from Romero's version.
[82]
The film has been
remade twice. The first, debuting in 1990, was directed by special effects artist
Tom Savini.
The remake was based on the original screenplay, but included more gore and a revised plot that portrayed Barbara
[83] (
Patricia Tallman) as a capable and active heroine.
Tony Todd played the role of Ben. Film historian Barry Grant saw the new Barbara as a corrective on the part of Romero. He suggests that the character was made stronger to rectify the depiction of female characters in the original film.
[84] The second remake was in 3-D and released in September 2006 under the title
Night of the Living Dead 3-D
. Directed by
Jeff Broadstreet, the characters and plot are similar to the 1968 original. Unlike Savini's 1990 film, Broadstreet's project was not affiliated with Romero.
[85] [86]
Copyright status
Night of the Living Dead
lapsed into the
public domain because the original theatrical distributor, the Walter Reade Organization, neglected to place a
copyright indication on the prints. In 1968,
United States copyright law required a proper notice for a work to maintain a copyright.
[87] Image Ten displayed such a notice on the title frames of the film beneath the original title,
Night of the Flesh Eaters
. The distributor removed the statement when it changed the title.
[88] According to George Romero, Walter Reade "ripped us off".
[89]
Because of the public domain status, the film is sold on home video by several distributors. As of 2006, the
Internet Movie Database lists 23 copies of
Night of the Living Dead
retailing on
DVD and nineteen on
VHS.
[90] The original film is available to view or download free on Internet sites such as
Google Video,
Internet Archive and
YouTube.
[91] [92] [93] As of October 2, 2008, it was the Internet Archive's second most downloaded film, with 515,561 downloads.
[94]
Several notable DVD releases have been issued by
The Weinstein Company/
Genius Products,
20th Century Fox/
Legend Films (a new colorized version), and
Anchor Bay Entertainment.
Sequels
Night of the Living Dead
is the first of five
...of the Dead
films directed by George Romero. Following the 1968 film, Romero released
Dawn of the Dead
,
Day of the Dead
,
Land of the Dead
,
Diary of the Dead
and
Survival of the Dead
. Each film traces the evolution of the living dead epidemic in the United States and humanity's desperate attempts to cope with it. As in
Night of the Living Dead
, Romero peppered the other films in the series with critiques specific to the periods in which they were released.
The same year
Day of the Dead
premiered,
Night of the Living Dead
co-writer John Russo released a film titled
Return of the Living Dead
. Russo's film offers an alternate
continuity to the original film than
Dawn of the Dead
, but acted more as a
satire than a sequel. Russo's film spawned four
sequels. The last two —
Return of the Living Dead: Necropolis
and
Return of the Living Dead: Rave from the Grave
— were released in 2005 as
television movies.
Return of the Living Dead
sparked a legal battle with Romero, who believed Russo marketed his film in direct competition with
Day of the Dead
as a sequel to the original film. In the case
Dawn Associates v. Links
, Romero accused Russo of "appropriat[ing] part of the title of the prior work",
plagiarizing Dawn of the Dead
s advertising slogan ("When there is no room in
hell [...] the dead will walk the earth"), and copying stills from the original 1968 film. Romero was ultimately granted a
restraining order that forced Russo to cease his advertising campaign. Russo, however, was allowed to retain his title.
[95]
See also
- List of films in the public domain
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