by Walter Chaw SPOILER WARNING IN EFFECT. George Romero's Nightof the Living Dead is a watershed: a quintessential drive-in/B-movie thatdemonstrated without equivocation how horror/exploitation pictures are often "indicator species" in the cultural swamp--the ones that mostquickly, most effectively locate the toxins in the ecosystem. Appearing in1968, Night of the Living Dead addressed the rise of televangelism inits legion of communion-taking, slow-walking white people; predicted the generation gap (alongside Rosemary'sBaby) and a spate of evil-children flicks that appeared in the early-'70s; and spoke to theCivil Rights war in its blithe casting of black actor Duane Jones and not-so-blithe murderof his character by a posse of hillbilly vigilantes in the final frames. There'ssomething super-charged in the image of Jones holing up in a farmhouse withwhiter-than-white, meeker-than-meek Barbra (Judith O'Dea), something explosivein the social microcosm represented by survivors trying,unsuccessfully, to work together to affect their escape from what's really just a metaphorical threat. The movie resonated then; it resonates still.
Not usually a fan of such things, I adorethe isolated score option for this film: Watching it with only Paul McCullough's music on the soundtrack proves a powerful, surreal experience. All that patness andoverwriting? Poof! Gone. On another track, Savini offers an engaged, good-naturedcommentary that doesn't so much narrate the action as augment itwith stuff like, "Those are real tears!" and, "There's a gas pump...we see it, do they see it, yet?" He goes into his interpretations of Dawn and Day of the Dead and, in so doing, accidentally explains all the ways this movie is less interesting than,if as earnest as, Romero's Night of the Living Dead. It's actually a great yakker. I like Savini alot. The theatrical trailer (HD) rounds out the disc-based experience.
[Korean Movie] Flu (BLURAY)
Twilight Time's Julie Kirgo ventures outside of her comfort zonefor the insert pamphlet on this one. I'm an admirer of Kirgo's from her work onstuff like The Big Heat and Swamp Water, but here, she makes afew broad generalities about horror films and their fans ("If you're the kind ofhorror fan (if such exists) that prefers just a modicum of gore...") thatreveal a certain limitation when it comes to analysis of the genre. More, Kirgo's thoughts on feminism and the way it does or doesn't apply tothis movie are limited to her identifying Barbra with Ellen Ripley, which isreductive and not very useful in elucidating wherethis remake may have fallen short of the original. When she suggests that the Judith O'Deaperformance was a product of 1968 attitudes about the treatment of women, well...I'm going to push back a bit on that, too. Although Kirgo is both a good writer and a goodhistorian, based on this essay I feel like she has a bias against horrorthat retroactively impacts some of the fine work she's done with noir, since horror and noir are opposite sides of the same nihilisticcoin.
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