Filmed
on a budget slightly over one hundred thousand dollars (In his beloved
home state of Pennsylvania) and rejected by all the major studies (they
disliked the black and white photography and the depressing ending) George
Romero's drive-in masterpiece went on to become one of the most successful
independent films of all times.
Playing
in triple bills at the local drive-ins and shown at 42nd street grindhouses,
word of mouth on this intense little flick spread like fire. Soon crowds
were lined down the block to get a glimpse of the legendary horrors
contained within The Night of the Living Dead (1968).
Shot
with the pacing and expressionistic angles of EC comics, Night of the
Living Dead wastes no time getting down to business. In what has to
be one of the most unforgettable openings in cinema history, Johnny
taunts his sister Barbara at the cemetery with the infamous line "They're
coming to get you Barbara" as a disheveled man approaches. The first
time viewer is in no way prepared for the man to actually attack in
broad daylight seconds later. From this opening scene the viewer knows
this isn't going to be an ordinary play by the numbers horror film,
with a cast of unknowns and its newsreel look, the film cuts a deep
nerve.
The
most horrific touch is Romero never gives a reason for the attacks,
it might be from a satellite a scientists guesses - but nobody knows
for sure making the situation unbearable. To the 1968 filmgoer with
no knowledge of Franju or Herschell Gordon Lewis the scenes of ripped
innards and gut munching must have had a shocking effect. A nice touch
by Romero is the inclusion of a naked zombie complete with autopsy tags
to heighten the realism of the film.
The
cast of amateur actors are exceptional for a low budget film especially
Duane Jones as Ben the leader of the group of humans trapped in their
fortified house, and Karl Hardman as that annoying nasty bastard Harry
Cooper. The amazing thing about Night of the Living Dead is the pure
entertainment value of the film, it holds up after repeat viewing always
maintains a level of tension rarely achieved in film. Romero would continue
the series with the color sequels Dawn of the Dead and Day of the Dead,
both classic films in their own right.
