The house becomes the focal point of the battle to stay alive, but it also represents more than a temporary refuge. It is the pinnacle of the American dream of security and happiness, along with that two car garage and a chicken stewing in every pot. Romero films the house in a noir style, with ominous shadows lurking in every corner, and stark contrasts that accentuate the bleak and dire situation our would-be survivors are facing. This house is not a safe haven. It is a death trap, soon to be surrounded by lumbering undead looking for a late-night meal. Unlike vampires that need to be invited in, zombies have no such code of conduct.
Barbra meets Ben at the house. Ben is the only African American in the film, and he has to contend with an all-white zombie jamboree outside, and more distraught white people hiding out in the basement of the house. He happens to be the only rational, cool under fire individual in the group, too. He forages around to find whatever he can to board up the place, all the while dealing with an increasingly catatonic Barbra, and a really annoying white guy named Harry, whose wife and daughter are holed up in the basement, along with a young couple. Harry's daughter was bitten by one of the undead, so you know where that is going to lead; but back in 1968, we didn't know.It is when Barbra climbs the stairs and discovers the home-owner, or what's left of her, that I and every other kid realized this was not going to be a fun ride. There would be no safe thrills and chills here. No Ed Wood undead Tor Johnson's or Vampiras' shambling about. The situation grew more and more grim by the minute and there was no Van Helsing in site.
Harry's one great idea is to stay locked in the basement. Ben wants to fortify the house, and have avenues of escape if necessary. Outside, the zombies gather in greater numbers, waiting, while the two men bicker and fight for control of an uncontrollable situation. Throughout this ordeal, key icons of control and salvation come into play: the radio, the television, and the gun. More than once "we'll be alright until someone comes to rescue us," is spoken. In today's post-Katrina world, we know differently; but back in 1968 we didn't know. Romero closes in on the Zenith radio as the news describes the growing civil disaster as a mass murder spree by persons unknown, and the bodies of victims are found to have been partially eaten. I really wanted to go for popcorn then, but I was too afraid to leave my seat. A television set is soon discovered, and everyone eagerly gathers round to listen and watch as newscasters discuss what the hell is happening with concerned scientists, the puzzled military, and local good-old boy militias. A humorous, and still timely scene has a news reporter hounding a scientist and military commander leaving a high-level Washington meeting, only to have the scientist warn about the seriousness of the situation, while the military person downplays it with a "we don't really know yet" attitude. The television provides an anchor of normalcy in a world gone mad, and they cling to it for succor; as the mother observes, as long as there's "some kind of communication, authorities will send help."
Article comments
1 - Steve C.
Fantastic article, man. I stumbled across this film on a local cable-access channel back in high school. I knew of it, but I didn't know much about it, and a friend of mine and I had been making fun of the night's previous offering (the sad-sack would-be-satirical late-wave slasher Cutting Class). We figured we'd stay up and continue having our fun. Cut to a couple of hours later, with both of us shaken to our cores, unable to do much more than just say, "Whoa. Dude." Still my favorite horror film of all time, this.
2 - Iloz Zoc
Thanks Steve. After hearing about the NOTLD 3D version coming out in November, I had to revisit the original. The shock value from the grainy black and white footage is intense. Romero created quite a statement of terror on a shoestring budget. My favorite scenes are the newscasts. Those are priceless, and pretty realistic. And to think the copyright got screwed up so the film fell into the public domain. Ouch.
3 - Michael J. West
Scared you in 1968? Shit, scared me in 1996.
4 - gonzo marx
excellent Review , as always, my shambling Friend...
a few quick bits
the convincing blood , sripping down the stairs with such a nauseating sound, was hershey's chocolate syrup from a can... one of the benefits, Romero said, of using black and white...
this was done, cuz the flick was shot REAL cheap...think Clerks kind of cheap...
all those zombies were actual townsfolk from the little Pennsylvania town where it was shot...
as for historical Import, this film gave Romero his leg up... from her,e i think his next was the original "the Hills have Eyes"... which "invented" the slasher flick , imho, in the same way that NotLD changed forever the boundaries of the monster movie...
especially that "dirty larry, crazy mary" kind of sudden killing of the Hero when he finds the "light at the end of the tunnel" was actually a metaphorical "oncoming train"
thanks for the good Read...
/golfclap
Excelsior?
5 - Iloz Zoc
Thanks Gonzo, and thanks for the syrup tidbit. Now I'll always think of NOTLD while making chocolate milk. The sound work in th film, along with the music was very effective. I really hate squishy, plopping sounds. The sounds of the zombie in the house chewing, as Barbra approached the door were disgusting.
It's amazing how a limited budget can inspire or intimidate a director and production crew. In this case, just about everything gels.
Even last night, while I was watching it on my laptop , I still got jumpy and had to look around a few times to make sure everything was okay. Man.
6 - Mat Brewster
Another great review. I remember watching this on the TV as a kid with my mom telling about being scared to death watching it at the drive-in when it first came out. Scared the crap out of me, too.
This, along with To Kill a Mockingbird, made me realize that film wasn't just something for entertainment, but could be real art too.
7 - Victor Lana
Great review. You capture so much about what makes this movie a winner.
This is one of my all-time favorite movies. I have watched it on Halloween every year since I bought it (about ten years ago). Before that I used to go see it at midnight shows in a theater here in New York and that was a wild scene.
I think this movie is fantastic for all the things that might be considered wrong with it: the choppy music, the stilted dialogue, the bargain basement special effects. Just a great ride from beginning to end.
8 - Iloz Zoc
Matt, hey now that's a great film, To Kill a Mockingbird. The long walk home at the film's climax is a beautifully eerie bit of filming. Art and entertainment: now that's definitely worth the price.
I really enjoyed reading your Goonies review. The 80s did produce some fine films.
9 - Iloz Zoc
Victor, going to a midnight showing of NOTLD must have been wild indeed. Man, I would love to see it with a bunch of Stooges shorts, or an Ed Wood film. That would be a hoot.
10 - Mat Brewster
Thanks. I must give you and Aaron Fleming a bit of kudos for getting me to write a full review after your comments on my small one.
The opening credits to Kill a Mockingbird really opened my eyes to beauty if film, its absolutely marvelous. The rest of the film is of course fabulous as well including the walk home and Boo Radley. There are few finer moments in film than when Scout sees him standing behind the door and says 'hi boo.'
But Night of the living Dead, yeah that's great stuff too.