Dawn of the Dead (1980)

After having finally seen this zombie classic, it is clear now why it’s earned its prolific status amogst its seemingly limitless competitors.  George A. Romero’s direction and writing leaves this feature fresh and original which is a notoriously rare trait for most zombie films. The categorisation of Dawn of the Dead as a ‘zombie film’ should be used cautiously as it both exceeds and manipulates the shared expectations of what zombie films should be. Within the 2 hours 7 minutes runtime, Romero effectively translates the cynical and greedy underbelly of human behaviour amidst an accepted chaos, with most characters providing incite into different attitudes towards an epidemic. In doing so the film carries a social significance, which in turn separates itself from countless zombie flicks, and inspiring greatness in others such as 28 Days Later and Shaun Of The Dead. Although the film is powerful in its social provocation, its delivery in action is equally admirable with a stomach-wrenching presence of body horror that surpasses CGI’s cushy attempts at displaying raw physicality. Just as the body horror is simple and effective, so are the zombies themselves, to the naked eye the on screen zombies are nothing more than humans with face paint, but this insignificant difference is precisely utilised to hold a mirror to humanity and make a direct comparison to the overlooked monstrous nature of humans versus the exposed monsters that are hunted down and killed. Romero is by no means attempting to create sympathy for these creepy-two-legged-crawlies but rather demonstrating the difference between instinctive and conscious, emotionally-driven killing. 

The plot follows four survivors, two swat soldiers, a traffic reporter and their TV-executive girlfriend. The opening credits throw the audience straight into the action with an orchestra of phone’s ringing, people shouting and footsteps scrambling. The action persists as the philadelphia swat team storm a building with a racist and unhinged soldier thrill killing from door to door, this is where the body horror is introduced forcing our two main protagonists to partake in a series of grotesque mercy killing. The Swat soldiers eventually make it out of the block and ascend into the clouds with the surviving couple. The differences in each character makes the film all the more intriguing to watch as both platonic and romantic relationships are studied under the pressures of an apocalypse. In the earlier stages of the film, the male protagonists develop a more distinct character arc as Peter, played by Ken Foree, maintains their composure in order to ensure the safety and morale of the group and firmly tackles with any behaviours or judgements that could threaten their chances of survival. Ken Foree gives the best performance and as such becomes the driving force of the film.  David Emge plays the aviator Stephen who is very much the skepticist and insecure member of the survivors but through the development of the plot and his peers, the pilot manages to reach new heights of courage and plays a supportive and helpful role within the team. Finally Roger, played by Scott H. Reiniger is perhaps the boldest member of the group, his initial composure is heavily influenced by his relationship with Peter who acts as the ideal partner and more subtely, mentor. As the plot progresses, The four survivors discover a mall and begin their mission to secure the consumerist fortress. It is soon learned that Francine, played by Gaylen Ross, is 3-4 months pregnant which subsequently accelerates the operation of taking the mall. Ross provides a great performance as Francine who is initially overlooked by the rest of squad in the beginning but soon gains their respect as she makes her voice heard. As previously mentioned no protagonist is wasted and the director excels in demonstrating their progressive arcs and relationships during the ever changing obstacles of a zombie apocalypse. The mall scenes are some of the best in the film. The use of mall music is genius as seemless comedic relief is provided for both audience and the characters. During the mall melody madness, Romero uses a series of shots showing the zombies stumbling and flailing about after almost every step they take, this is another instance of sociology as the director presents mass consumerism as quite literally brain dead. Whilst the plan and execution of the protagonists new-found mission is original and in parts engaging, there are a sequence of scenes which rinse and repeat from one another filling a 30 minute gap with mundane action. However mundane the filler scenes might be, the transformation of Roger is birthed as his bold brash killing ends in tragic consequence. This demise of a loveable character reiterates the grounded atmosphere Romero creates. The film is not without it’s eye-rolling moments but for the most part the script is intelligent in the way in which it seeks to contain the situation within a logical and realistic perspective. The zombie killings are methodical and satsifying too watch and are greatly contrasted to the raid of the mall towards the latter part of the film where Romero once again reminds audiences that zombies aren’t the most dangerous threat facing our survivors. Though most of the montages throughout the script are effective, there seems to be too many silly/fun scenes which stray too far from the path Romero creates. Overall, an expertly crafted zombie film, which provides multiple focuses on well-rounded aspects of morality, social responsibility and human survival. Truly an enjoyable horror classic which will live long in its influence for modern horrors to come.