George A. Romero redefined a sub-genre of horror films with this landmark independent production. In addition to pushing the boundaries of screen gore, Romero also pushed the boundaries of handling race relations. This cult classic goes to show that great direction and story can overcome a low budget.
Barbra (Judith O'Dea) and her brother Johnny (Russell Steiner) have driven three hours for their yearly ritual of placing a wreath on their father's grave. A lone man wonders the graveyard. When Barbra gets a little creeped out, Johnny jokes, "They coming to get you, Barbra." How true that statement comes to be? Turns out that lone man is really a fresh eating zombie, who knocks out Johnny and chases Barbra to an isolated farmhouse. Barbra is almost catatonic when Ben (Duane Jones, BEAT STREET) arrives at the house. The young African-American man quickly takes charge to board up the windows from the growing number of the living dead. Later they will be joined by the coward Harry Cooper (Karl Hardman), who bickers with his wife Helen (Marilyn Eastman). Their daughter Karen (Kyra Schon) is sick. The couple is accompanied by the younger couple Tom (Keith Wayne) and Judy (Judith Ridley). Tensions build between the group as they argue on their best next move.
Romero's use of simple cinematic tricks allowed him to mask his inability to carry off more expensive effects. His innovative use of the handheld camera, a very common technique today, brought an immediacy to the material and allowed him to have zombies bashed in the head without cuts by simply moving the actors head out of frame. Nice pacing and an atmospheric use of shadow help build tension. In his use of gore, he has purpose. The flesh eating is first reported on the radio then confirmed on TV, finally gruesomely taking place on screen in one sequence, building the sense of chaos growing. It's still unsettling today and must have been appalling upon its original release.
As for the racial undertones, Ben is unique for the 1960s in many ways. Coming out only a year after GUESS WHO'S COMING TO DINNER, this film does not present its African-American lead as the "perfect" black man. He is allowed to react and behave as any person would in the same situation. He's a hero, but not a saint. The ironic conclusion adds a startling note about race relations.
Nearly forty years after it was first released, NIGHT OF THE LIVING DEAD is still effective. For horror fans, it might seem tame, but an unsuspecting viewer may still be shocked by this cult classic. Romero didn't just make a classic horror film, but a new horror mythology.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
