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In nineteen sixty eight, George Romero
brought us Night of the Living Dead.

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It became the classic horror film of
its time. Now George Rameiro brings us

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the most intensely shocking motion picture experience
for all times. It gets up and

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kills the people it kills, get
up and kill. This situation must be

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controlled before it's too late. They
are multiplying too rapidly. Dawn of the

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Dead. Leave me on the roof
at nine o'clock out in the chopper.

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We've got to survive. Somebody's got
to survive. They kill for one reason.

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They kill for food. They eat. They're victims. Imagine if you

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will, that something has gone terribly
wrong. Soon now, except the fact

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that there's no escaping the horrible consequences. George Romero brings back the dead.

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Night of the Living Dead has ended. Dawn of the Dead is here.

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We must not be loved by the
concept that these are our family members or

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our friends. They are not.
They will not respond to such emotions.

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Operated dead post a van and they
never get out of law. It's everywhere.

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What the hell is It looks like
a shopping center, one of those

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big indoor malls. What are they
doing. Why do they come here some

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kind of instinct memory? What they
used to do? This was an important

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place in their lives. What is
it? We've got a war. We

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have spawned our own savagery. Soon
it will consume us all. It is

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a horrible, puntingly accurate vision of
the mindless excesses of our society gone mad.

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Why they must be destroyed on site? When there is no more room

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in hell? The dead will walk
the earth. We are down to the

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line boats, We are down to
the line of the Dead. Sequels are

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some of the most polarizing films in
cinema history. They are debated as being

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worthy to the previous film, or
even if they should have been made.

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Ten years following his landmark Neither of
the Living Dead, George A. Rameira

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returned to the beasts, He created
zombies, and in turn gave a rare

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instance in film more where a sequel
could even be considered to supersede the original.

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Released in nineteen seventy eight, Dawn
of the Dead continues Romero's story of

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the zombie apocalypse. When the film
begins, the world is in more chaos

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than we left it. At the
end, A Night of the Living dead

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due to the fact that the undead
are winning on their rampage, tearing through

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the living. The film starts frequent
Romero contributors Ken Free in his most known

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role and special effects group guru Tom
Savini. In this film. To escape

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the undead, four individuals land a
helicopter on the roof of them all to

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seek refuge. In that refuge could
end up being their demise. I mentioned

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chaos that has overwhelmed the world,
and the opening scene of this film shows

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that the film begins at a local
news station where two individuals are on the

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air arguing about what is going on
behind the scenes. Individuals are arguing over

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what te air, what not tear, and even if they should be on

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the air. Why I chose this
scene is the fact that we hear a

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common trope in these Romero films that
society can be crumbling and falling apart,

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and instead of working together, we
look towards our own interests, in our

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own survival. You are right,
what the hell, that's a whole different.

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But if we do that, we
don't know that, we don't know

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that. We got to operate on
what we do know. I'm still dreaming

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human beings who to say. Turn
the explained several times. The guys and

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the crew are going crazy. A
couple of them plowing the coop already.

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I don't know how long we're gonna
standing here. Came to you just got

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to report the half those stations have
been knocked out. Give me a list.

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Sure, I'll just pull it out
of my ass. Right, you

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want the day to return to life. I'm not so you believe the day

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to returning to life and attacking the
living. I'm not so sure what to

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believe. Doctor. All we get
is what you people tell us. And

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it's hard enough to believe. Fact, it's fat hard enough to believe without

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you coming in here. And you're
not running a talk show here, mister

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Berman, you can forget pitching an
audience tomorrow. You're talking about the Freddie

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gets another list of rescue stations.
Charlie's receiving as stations. Half of those

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are inoperative as of now, Charlie, the rescue stations we can't send people

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are inoperative. Restu station. You've
had all information on the air for the

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last twelve hours. Kill those old
ones, givens one stuff, kill them,

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help given to see meself. The
situation to me lately by the public

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guitar. You have not listened.
You have not listened to the situation for

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three weeks. The po will see
people aren't willing to accept your solutions,

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doctor, and I for one,
don't blame them. Every dead body that

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is not exterminated becomes one of them. It gets up and kills the people

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it kills, get up and kills
operated rest the stations. When Dan open,

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he is trying to do type that
up, I think Foster's shright.

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We're losing, blowing in our suits. Hill's going on, who killed those

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supers? But he has these porters
through that garret who told you to kill

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those supers? No, my air
killed them there at days you know you're

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on the air. I want to
Since this film's release, a common opinion

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is that this film is a criticism
of consumerism. The undead marched aimlessly towards

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the mall, and when they get
in, they stumble around without direction,

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So it's easy to see where one
can get that opinion. For the four

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individuals that seek refuge in the mall, new station workers Stephen and Francine and

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officers Peter and Roger, the refuge
becomes a hedonistic paradise. Our next two

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clips set the all up. First, the individuals arrive and fill out a

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plan to get inside and attract little
attention from the undead. And then,

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when their greed takes over as they
raid shops throughout the mall, Roger is

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bitten and begins to turn to a
zombie. This scene is very hard to

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watch, as while Roger dies,
the three survivors are watching an individual speak

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on television about the nature of the
newly deceased, rising to feed. What

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the hell is it? Homes like
a shopping center, one of those big

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indoor malls. Oh my god,
no chance, forget it. Let's get

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out here. Wait a minute.
They can't get up here. Yeah,

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and we can't go down there.
Let's check it out. Most of the

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gates are down. I don't think
they can get it to the stores.

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I haven't seen any of them up
on the second floor, the big apartments.

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Those usually use both floors. If
we can get in up top,

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okay, yes, the poll is
not often that there. What are they

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doing? Why did they come here? It's a kind of instinct memory what

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they used to do. This was
an important place in their lives. Thank

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you. Look at this They said, you get down into the mall.

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Now business, how do we get
down there? Now? The death of

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Roger, I'll stay with it.
Take care of me, or to Peter,

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you take care of me when I
go. Just try to get some

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sleep back the safest strength. I
I don't wanna be walking around and like

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a fat Peter. Peter, Yeah, I'm here, man, don't do

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it to you. Sure I am
coming back. I'm going to try not

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to. I'm going to try not
to come back. I'm gonna try not

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to. They use maybe five percent
of the food available in the human body.

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The kind of thing. With that
small amount, the body is usually

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intact enough to be mobile when it
revives. What do you say? I

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mean, you know, use science
and dummies, suggested dummies. Dummies listen,

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quiet, quiet, One wonders whether
it's worth saving. This is worth

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saving? For all I know,
the brains are already dead, and it's

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the idiots that are still alive.
And I figured out how to stay alive.

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Two And I'm trying to help you, dumb in your calm helping way

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to irritate way, logic, way
illogical, hell illogical. Hell, I'm

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showing you a way that we can
up the food supply twenty times supply for

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who, for a whole specimen that
is walking around there in increasing numbers.

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We should need them. What else
you're going to do with them? Give

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me an alternative? I thought you
scientists could come up with an actual way

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to solve the problem rather than feeding
the opposition. Doesn't make any sense any

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With the commentary at play, it
could be argued this film is more thought

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provoking than the original. My opinion
is the criticism of consumerism is so in

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your face that it is not the
prime piece of social commentary. But to

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describe what the point of the film
truly is, why not go to the

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source. Our final clip of this
review is a clip of an interview Romero

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did with BBC two in nineteen ninety
seven regarding this film in what he was

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trying to show us about human nature
through the zombie apocalypse. Now, this

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interview does have film clips interjected into
it, just to warn you, so

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you're not sitting there thinking that I
did anything to the clip itself. I

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don't think anyone would have gotten it
except Dario Argento. Approached us Italian director

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and we showed him the script and
he said, I'll be the first money

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in on this one. I mean, basically, he caused the movie to

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happen. Right, run, why
not go? Right? A theme that

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I've always used is just this idea
that we don't talk to each other.

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I mean, this complete lack of
communication that we have and a willingness to

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adopt a position. People aren't willing
to accept your solutions, doctor, and

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I, for one, don't play
the three dead body that it's not exterminated,

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becomes one of them, It gets
up and kills the people it kills,

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get up and chill. You know, this sort of tribalism or you

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know, I think it's white,
I think it's black, and there's no

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attempt to try to figure out,
you know, any sort of middle ground

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or build a bridge. I mean
that's true in everything from religious wars to

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the O. J. Simpson case. I'm not so sure what to believe,

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doctor. All we get is what
you people tell us. And it's

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hard enough to believe black. It's
fat hard enough to believe without you coming

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in here. And if you're not
running a talk show here, mister Berman,

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you can forget pitching an audience for
Morald. To me, that is

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the most appalled thing about what we
do to each other. And so it's

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a theme that I've tried. I've
worked with, particularly in the zombie films.

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I think, if your people start
shooting at you, then sure you're

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all going to shoot back at the
same common enemy. But in a situation

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where there's where anything is ambiguous,
I think there's going to be at the

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very least arguing and that then perhaps
at the worst, you know, people

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murdering each other for their point of
view, Hey, oh my god,

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what are you doing? Scary,
isn't it? Until the shooting starts,

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there is no common enemy, And
that I think that in trying to decide

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who the enemy is, or if
even if there is an enemy, that's

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where we just need to talk and
figure out what our strategy is going to

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be. Let them know we're here. Did all right this time? Boy?

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How about it? Feeling? I
was trying to do it like a

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comic book kind of visual The blood
it's you know, very red, bright

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red, flowering out behind somebody's head. What we were going for was just

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this garish kind of ec comic book
kind of a look. None of that

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stuff was particularly threatening. The repetition
of the violence. I mean, zombies

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get shot every few minutes in the
action parts of the film, and you

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sort of get immune or inured to
it. Again, that was part of

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what we were seeing in the eighties, I mean about us just getting so

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desensitized by the things that we were
seeing on television and you know, show

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the military and the hunters and all
that, just just you know, enjoying

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it. And as that being an
outgrowth of g you know, we got

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ourselves a new shooting gallery here.
And also it worked to sort of ramp

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you up towards the really grizzly scenes
in the end when we become just pieces

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of meat there at that point,
and then the people upstairs in those quarters,

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it's sort of what we do.
We live somewhere over here while all

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this you know, violence, and
you know, the world's exploding. If

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I ever do another one, if
I ever do the you know, the

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the two thousand one, I think
that's what it'll be like. I mean,

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you know, maybe humanity will have
come back. There'll be security guards

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and the zombies are out in the
street, you know, sort of like

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the homeless. But will we care
as long as we get you know,

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as long as we have this valet
to bring the car and we can get

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out of there and not really have
to deal with it. Obviously, the

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film's success does not need to be
stated. However, it does deserve recognition

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based mainly on word of mouth in
some commercial advertising, this film well exceeded

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box office expectations. It grows twenty
four million dollars worldwide after being made on

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only a nine hundred thousand dollars budget, and it is the most profitable of

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Romero's Dead series of films. This
film is just as influential as Night of

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the Living Dead. It has been
remade, had tributes done to it,

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parodied, and even became the primary
basis of a successful video game series,

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Capcom's Dead Rising. It is harrowing, dark and brooding as great as Night

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Was. Dawn is a rising of
a new era for the zombie film and

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is the best of the series in
my opinion. It is rare to have

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a sequel be more highly regarded than
the original, and that is the case

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here. That makes this must see
viewing no matter the time of the year.

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I hope you join me next week
when we continue our Halloween slate of

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films with Sam Rainey's rollicking, hilarious
time travel in demon filled gorefest Army of

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Darkness, starring the Great Bruce Cambon
for WMNH and Matt Connorton. Unweas this

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has been a classic film review with
Eric Hilter Allen, No, I'm dam

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we din't know about rancy is fils
that we have a say I did,

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what's coming with you? We have
a day I did? We're coming from

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you? Do you have a dad. We're coming with you? Because about

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the dads out as you were saying
what mansills me? What they can be?

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Stout where counts selling about we have
a dad idea, I'm coming from

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you, but we have a dad. What's coming to you? We have

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a dad? What's coming? Have
a bowery on brow and let us out

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a little bed now a tall rob
the other you're not having power house brown

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cots a bow out the tail about
Brad now adad well walk video you have

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a very wow ow ground jus about
when you have a tag and I'm coming

204
00:23:37,279 --> 00:23:42,640
down when you have a Dagon's coming
out. We have a dag coming but

205
00:23:42,759 --> 00:23:52,480
yeah, I coprate bars like a
album man house a dead a living blow

206
00:23:52,599 --> 00:24:00,640
down else some tam let us out
bad. Now that my dad, well,

207
00:24:00,880 --> 00:24:22,079
rod Well, we have a dad. That one time I go go,

208
00:24:22,039 --> 00:24:26,160
we had a dad that one time
I need o. We had a

209
00:24:26,279 --> 00:24:30,319
dad one time I go go.
We have a dad now one time I d go