George A. Romero: A Slice of the Dead

 This week has gotten me inspired to talk about one of my favorite directors. The one and only George A. Romero. While I have only watched a handful of his films, the mark on my taste and expectations exist because of people like him. While I can't wholly relate to the man and his era, I understand what he's putting down to an extent. The times are different, but all the same. Things may look like they have changed, yet they really haven't. And that's just one of the things that I came away with when I watched movies with the Romero name on the front. 

In the same vein as Tobe Hooper's The Texas Chain Saw Massacre, Wes Craven's The Last House on the Left, and David Cronenberg's Shivers, Romero was able to look at the nature of man and pull out the ugliness along with its beauty. People are complex and need to be showcased as such in order to make an impact in the messaging being brought forth. So, the goal today is to talk about some of  the Romero films I have seen, and give my assessment. And what better way to do that than with Romero's Night of the Living Dead. 

But before I go into the specifics, let me set the scene on my introduction to Night of the Living Dead. I remember running errands with my parents and looking in a bargain bin. Now, I don't really recall any other movie in that bin aside from NOTLD. The red cover with the big white text was striking and haunting. I knew the name, and recognized the pedigree that came with it. This was one of the foundational Horror films that people always cited. So, I wanna say me, my brother, and my Dad watched it the same day. And my takeaway from the film was this feeling of awe. Nothing had quite hit like that for me. Truly one of a kind. 

It's a film that needs no introduction. It's the blueprint for all zombie media that came after, and for good reason. There's something so relatable in a section of the apocalypse being featured inside of a two-story home. Just a group of strangers huddled together like fish in a barrel. That claustrophobia let's the film lean into its strengths as hysteria took over reasoning. Acknowledging human nature and prejudices was what made NOTLD so phenomenal. 

So, the first aspect I want to look at is Ben (Played by Duane Jones) specifically. One of the best to ever do it. His compassion and risk assessment throughout the film made characters like Harry Cooper (Played by Karl Hardman) stand out amidst the chaos. Especially when they encounter each other for the first time, and Ben grills Harry for his cowardice and selfishness. Because when it came down to it, it's not you against the world. It's about you and the world banding together to make it through. 

There's  definitely inferences to make about Ben's life as part of a community, and Harry's life as someone who simply exists within society. How else could someone who's so afraid to interact with their neighbors even think about helping them? These are the thoughts that come about when thinking on the material presented. As Ben doesn't have to extend his hand to Barbara (Played by Judith O'Dea). But he saw what the world had done to her, and offered to help her through it. A good example of this was when they first start to board up the house and Barbara starts dissociating. Which lead to Ben getting frustrated and angry with her. But then he took a step back, empathized with her, and told her to go gather wood instead.

Like, he's not babying her. He's reassessing the situation based on her condition and acting accordingly. Giving Barbara the time and space to calm down. It all comes back to the communal aspect. Things break down when selfish desires take over. Which was exactly how the people in the house were nearly wiped out by the end. 

And let me tell you about that ending. Damn. The only word you need to describe it. Hits like a gut-punch and lingers like a tumor. One single action said so much. I honestly couldn't believe it at first, but the implications made so much sense. Like, of course the White Man Militia would take advantage of an epidemic to take shots at Black People and other minorities. It really just hits you with a dose of reality that you didn't want. Yet, that's what made Romero so good in those early days. 

So, the ball continued to roll with the follow-up, Dawn of the Dead. An equally as great movie, but not one I would place over its predecessor. But that doesn't mean that DOTD lacked in any category, it's just a matter of preference. As the movie starts off hot with the raid on the low-income apartment complex. It's here the audience gets shown some striking perspectives. The first one being that big-boned, racist SWAT Team Member slinging slurs. His goal was absurdly clear as he plainly stated his intent to kill. Nothing else gave him the rush that killing minorities did. This kind of person was exactly the type of man depicted at the end of NOTLD. So, if you missed the racist shooter back then, there wasn't any chance of missing this one. And it really said a lot when no one stopped him until Peter (Played by Ken Foree) stepped up. 

Oddly enough, that introduction lead to the meeting of Peter and Roger (Played by Scott Reiniger) as they made their way to the lower floors of the complex. And it's in these lower floors that we found out about the stockpiling of the Living Dead. They're the family and neighbors of the people upstairs. They're not just monsters to kill. So, to see Peter have to painstakingly shoot them down, felt powerful. Afterall, they were just people just like him. The emotional toll ended up being great enough that Roger had to help him out, as a way of carrying the burden. As a result, the start of a true friendship was solidified in that tragic moment. 

Just like in NOTLD, DOTD depicted the importance of community and looking out for one another. It's how people survive. And it's how Peter and Roger were able to coexist with Stephen (Played by David Emge) and Fran (Gaylen Ross) at the Mall. A place that shouldn't feel like home, but strangely did. And I think that's one of the key themes when looking at the commentary on consumerism. 

Because when you look at a place like a mall, the key necessities of food and shelter are all there. But it still doesn't evoke the feeling that a home should, no matter how you dress it up. Yet, the group were holed up there for as long as possible, as the Undead kept flooding in. Not because it housed a precious memory, but because it housed a place in their brain. Telling them to go get a new radio, a jacket, even a gun. The epicenter of useful items and useless junk. 

But to get back to that communal aspect, Peter, much like Ben, stood out as this competent and compassionate leader. Always looking out for others, even when they wouldn't look out for themselves. It's why I liked Peter so much throughout the course of the film. He valued life the most, and was hesitant to take the lives of the ones he deemed close. It can be seen in the Apartments. It can be seen when Roger's on his deathbed. And can be seen when Peter has to dispatch Stephen. The emotional turmoil on Ken Foree's face said it all. 

Ultimately, this was just a way to talk about some George A. Romero movies. So, I really didn't have much of a goal other than to gush about certain aspects across NOTLD and DOTD. Two great and influential films that need to be used as learning materials. As they show the power of community and the nature of man. For good, or for worse. They don't quite make them like Romero anymore as much, but they're still out there. A great recent example being Ryan Coogler's Sinners. But at the end of the day, it's all about love winning, and sticking together. 

And remember to Free Palestine, Free Congo, Free Sudan, Free Venezuela and to Free Lebanon from the onslaught of their oppressors. Never stop talking about them. They think that we don't care, but we see everything. Never forget that. They are trying to suppress our voices because they matter, remember that. There may have been a ceasefire in Gaza, but Palestine still needs to be completely free.