Tagged Satirical

Dawn of the Dead: Consumer Horror

Dawn of the Dead. 1978. Directed & Written by George A. Romero.
Starring David Emge, Ken Foree, Scott H. Reiniger, Gaylen Ross, David Crawford, David Early, Richard France, Howard Smith, Daniel Dietrich, Fred Baker, and James A. Baffico. A Laurel Group Production. Rated R. 127 minutes.
Horror

★★★★★
dawn-of-the-dead-1978George A. Romero started the modern zombie craze with his 1968 horror movie Night of the Living Dead. Ten years later, he came back swinging with Dawn of the Dead. Full of iconic moments, even iconic zombies themselves (see: Hare Krishna zombie), Romero gives us an even more nuanced, darker, and at times funny, bit of horror cinema.
A lot of people nowadays are hugely into the zombie sub-genre. For good reason, as these Dead films from Romero, including the ones after it, are a whole lot of horror fun. The reason why Dawn of the Dead is so celebrated and loved after all these years is because not only does it do a fine job creeping you the hell out, like Romero’s 1968 film, even more than that it again explores social issues. Soon as the characters in this movie make their way to a mall, hordes of zombies trying to get inside, you can tell there will be some kind of commentary on Romero’s part. Dawn of the Dead is written incredibly well, with good characters, dialogue and action, as well as the fact Goblin does the soundtrack, Dario Argento worked on the music/editing, and master of special effects Tom Savini supplied all the zombie nasty work. This is one damn good piece of zombie horror and it’s no wonder we’re still talking about it today as much as we do.
dd3After the dead reanimate and start to feast on the flesh of the living, a group of people hoping to survive make their way via helicopter to a large mall: Stephen “Flyboy” Andrews (David Emge) and Francine Parker (Gaylen Ross), along with two SWAT team members Peter Washington (Ken Foree) and Roger DeMarco (Scott Reiniger). Upon arrival, they try and set up camp finding a safe room to spend their nights, food for sustenance and any other various items they can manage to whisk away from the stores in the mall. Only problem is the zombies have filled up a nice majority of the shopping complex, so they’ve got to maneuver their way around the huge building efficiently, and quietly, as humanly possible.
But when Roger gets infected by the zombie virus, their situation changes. With the situation inside the mall getting worse with every passing day, the group is forced to confront other options; that is, if there are any left.
dawn-of-the-dead-zombiesOne of the most intriguing things about this movie is how Romero expands on the idea of a post-apocalyptic United States of America. During Night of the Living Dead, we do see a microcosm of the aftermath with all the sheriff’s boys out hunting ghouls and seeming to have a grand ole time, plus there are the news reports and all those aspects. However, with Dawn of the Dead this plot allows Romero to give us a bit bigger of a look at the post-zombie society. Big part of that is the mall itself.
When they first arrive, Francine questions why the reanimated corpses would be at the mall, to which Stephen replies “Memory of what they used to do; this was an important place in their lives“. Later on, as the group listens to a radio, a commentator talks about remembering past lives and how the actions of the zombies are merely them working out what they once used to do. The thing I find interesting, the social aspect of Romero’s screenplay, is how he chose the mall/shopping complex itself. It speaks volumes about human society just in the number of living dead wandering around the building and outside; it’s evident how involved we as humans are in consumerism already, but Romero – back in 1978 – was already on to the fact we’re creatures of habit, as well as creatures of leisure wanting to shamble our way into the mall, mindlessly picking away at the things inside (a.k.a “shopping”). So I think, again like his first zombie movie, this one can be considered relevant today, if not even more so than it was on its original release. The way we consume things as a society of people has gotten out of hand, especially now in the post-2000 world. Say what you want about Dawn of the Dead, or the films which follow it/the one preceding it, Romero infuses his horror with a ton of commentary. Not every last shot is done like this. Overall, though, you cannot deny Romero’s zombie films encapsulate social products of their time and even then they go on with their strength for years. I won’t be forgetting these films any time soon, if ever.
Dawn-Of-The-Dead-1978-Flick-Minutedawn06I have to talk about Tom Savini. As someone whose love for horror grew out of older films intent on using practical makeup effects, before CGI ruled the industry, Savini is one of my personal gods. Honestly, even the first three films he worked on show off his immense talent – from his uncredited work on Bob Clark’s Dead of Night and putting his hands into the loose Ed Gein inspired Deranged, to doing fun stuff on Romero’s 1977 unusual yet awesome vampire flick Martin, to the stellar makeup/special effects he did in this film. I won’t go through the man’s entire filmography, but I’m just trying to show you how immediately Savini made an impression on the horror movie industry. In fact, Romero wanted him to work on the original ’68 Dead film. Unfortunately at the time Savini was called off to war; he actually applied some of the nastiness he saw during the Vietnam war as a combat photographer to the special effects/makeup he did in films. Luckily, they got together for this movie and did  a ton of bloody, fun horror work.
The look of the zombies alone is great. There’s a satirical part in how they look, as they’re all zombies yet representative of our own zombie-like qualities as humans. So while I’ve seen some horror fans wonder why the zombies are blue-ish coloured, I think there’s a wickedly dark comedic edge to their look. At the same time, they’re still fucking terrifying! Not just that, the head shots and the flesh eating and all that rotten business works well. Most of all, it’s the blood itself I find so wonderful. There’s nothing like a good looking bit of blood on camera and something about the blood in Dawn of the Dead is at once cartoon-ish and simultaneously nauseating: its rich red makes it appear almost like paint, like comic book blood, and the thick texture of it seeping out of chests/heads/et cetera has a visceral, raw essence which is kind of gross. Needless to say, without boring you too much to death on my thoughts about the effects overall, without Tom Savini this would not at all be the same type of horror film. Furthermore, I’d venture to say the zombie sub-genre wouldn’t be as rich and magical in terms of effects if Savini hadn’t done such good work with Romero here. This movie has influenced so many filmmakers and endlessly captivated the minds of legions of horror fanatics, and will continue to until the end of time.
dawnofthedead3 draft_lens21649007module169844112photo_ee321358980351f4a352aIt’s hard to say anything that’s not been said before concerning Dawn of the Dead. One thing is for sure, though, George A. Romero is the man who gave us modern zombies and this film is an intense piece of horror cinema which dives further into the zombie lore he created in 1968, as well as touches on aspects of human nature from friendship in close quarters to a reflection of our inherent consumerism as people in the 20th century. 5 stars, right through the roof and to the sky!
As I said in my review of Romero’s first zombie feature, Day of the Dead is actually my personal favourite. All the same, each of the three first films in his Dead series are perfect in my mind and neither are technically better than the others, at least that’s how I see it; I just prefer Day over the others, something more apocalyptic and foreboding about its plot.
Regardless, Dawn of the Dead constantly affects me, it always entertains and I love the two-disc DVD set this came in, which I ordered a few years back now. Lots of fun features on the release, as well. If you’re a fan it’s worth the cash. If you’ve not seen this: smarten up and watch it for Halloween.

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Beetlejuice: The Afterlife and Raunchy Ghosts

Beetlejuice. 1988. Directed by Tim Burton. Screenplay by Michael McDowell & Warren Skaaren.
Starring Alec Baldwin, Geena Davis, Michael Keaton, Catherine O’Hara, Jeffrey Jones, Winona Ryder, Annie McEnroe, Glenn Shadix, Patrice Martinez, Sylvia Sidney, Robert Goulet, Dick Cavett, and Susan Kellermann. The Geffen Company. PG. 92 minutes.
Comedy/Fantasy/Horror

★★★★1/2
beetlejuice-posterTim Burton doesn’t always appeal to everyone. His style, as far as I’m concerned, makes him an auteur. Even in his less cartoony, gothic-styled films, there is always an ever present sense of Burton and his unflinching vision of the stories he tells. Most of his movies I do enjoy, though, some I’m not huge on. Either way I can’t help deny my major love for a few of his movies.
One such title is the 1988 fantasy, quasi-horror, full-on comedy Beetlejuice, which later toned down into the 1989-1991 cartoon series of the same name. This is one strange piece of work, at the same time it’s amazingly near perfect in other ways. With a refreshingly innovative take on the afterlife, hauntings, the “life” of ghosts on the other side and tons of fun Burton-like imagery and makeup effects, this is one hell of a fun film. Beetlejuice has a bit of everything: death, suicide, laughs, calypso music and dancing, and Micheal Keaton.
beetlejuice-beetlejuice-the-movie-30941820-1920-1080After a tragic car accident, Adam and Barbara Maitland (Alec Baldwin/Geena Davis) find themselves back at their house… only a little removed from reality. They find a book in their attic – The Handbook for the Recently Deceased – and then eventually discover a way into the waiting room of the afterlife, where a case worker named Juno (Sylvia Sidney) explains they’ve died and are contracted to remain in their old home for many, many years. Tasked with scaring out the new owners – Charles and Delia Deetz (Jeffrey Jones/Catherine O’Hara) along with their young daughter Lydia (Winona Ryder) – Adam and Barbara eventually come across an unethical ghost named Betelgeuse (Michael Keaton) who would much rather kill the new owners than just scare them out. And once Betelgeuse sets his sight on Lydia to be his wife, the newly deceased couple have to decide whether they’re ready to give up their home, or give up the life of an innocent young girl.
tumblr_npbu2xlhfu1uq538fo9_1280So much to enjoy about this slice of Burton work.
One of my favourite sequences of the film happens early on when Adam (Baldwin) and Barbara (Davis) try to scare the new owners, before they’re initiated into the world of being dead. First, Barbara hangs herself in the closet, then rips the skin off her skull when Otho (Shadix) and Delia Deetz (O’Hara) look inside, yet to no avail. Then, Barbara stands – knife in hand – with Adam’s bloody, decapitated head in the other, trying to look sinister. Nothing works! But the kicker is when Adam tries to run up and lock the attic door, with no head, and he’s banging into things, bumping every object nearby. Riot, love it. Awesome few scenes here, especially in terms of makeup effects and horror imagery; the skin off skull bit is nasty and cool.
The waiting room scene is another perfect bit. We see the various dead people sitting around until their name is called: one man is a hunter of sorts, his head shrunken to a prune; another merely charred remains of a man smoking a cigarette; a guy who choked to death, chicken bone still sticking through both sides of his neck; an attendant showing patients in whose body is hung on strings, flattened out from tire tracks; and a man hung by the neck, on the same track as the other attendant, passing files off to a secretary while he’s carted about the office building. What a great and also tragic sequence. This is also part of why I’m so in love with Beetlejuice; because of its unique charm in the face of death.
winona-ryder-beetlejuice-2Lydia: “My whole life is a dark room; one… big… dark… room.
BEETLEJUICEWhat I dig most about Beetlejuice overall is its take on the afterlife. On one hand, you’ve got all the “regular” ghosts who are merely regular people moving onto another plane. On the other hand, there’s Beetlejuice himself. But it’s the little handbook, for the recently deceased, the waiting room, the giant sandworms, and so on, which intrigues me. Such a neatly cartoonish and macabre world for Burton to play around in. At the same time, I find the way it portrays ghosts pretty unique. So underneath all Beetlejuice’s gnarly exterior and vulgarity, beneath the story of a haunting, there’s a genuine attempt here to dissect what a true afterlife might be – instead of the idealized heaven or hell, Burton’s film taps into a more satirical approach to being dead and trying to move on. Plus, seeing things from the side of the deceased doesn’t hurt either. While we’re right alongside the Deetz family, even in the scarier moments after the Juice runs loose, much of our perspective comes from Adam and Barbara, as well as later a similar yet different perspective from the still-living Lydia. All in all, the way this movie presents death and the afterlife is both hilarious and fresh.
vlcsnap-2013-11-14-04h25m48s120 391ccd14f69e49feacc3502aa1857b63 393689There’s plenty of creepy horror stuff going on, but the dark and sometimes raunchy comedy is very much happening here. For instance, even in the morbid scene where Lydia (Ryder) contemplates her suicide writing a note for her family to find later, there’s a downright funny, laugh out loud moment as she rearranges the words, choosing better ones to put in place to make the note sound more appealing. The whole character of Lydia is fun and funny at once. She’s simultaneously deep and gothic while also playfully satirizing the whole goth lifestyle.
When it comes to comedy, though, obviously Michael Keaton as Beetlejuice is the centrepiece of this entire thing. Clearly, right? Even more than you think. For those who don’t remember properly, Beetlejuice is a dirty dude, both physically and in his speech. In the original screenplay, the character was much darker and more violent; he wanted to rape Lydia, here it’s toned down slightly to a creepy crush. But the darkness all around, from his actions to his comedy, is still quite present. Keaton brings Beetlejuice to life from one moment to the next. He’s mostly hilarious, yet always with the chilling side directly under the surface, every now and then coming out into the open fully. Some of my favourite bits are when Beetlejuice is still stuck in the tiny model town, in its cemetery; Keaton did a nice bit of improvisation, if I’m not mistaken, which is awesome because he did a great job with the character.
BeetlejuiceBeetlejuice: “I’m the ghost with the most, babe.

Even with the changes inflicted upon the original screenplay, the toning down, the film’s finale remains pretty dark. Regardless of the cartoon-ish, at times, quality Burton gives the story and its visuals, there are equal amounts of very macabre and eerie sequences. When Beetlejuice is called back into reality by Lydia the final time, in order to try and save Adam/Barbara, the movie turns into a dark carnival. This section starts out in a sort of lighthearted horror-comedy way. Then, slowly, it moves towards treacherous territory, as Beetlejuice attempts to take Lydia as his bride. I mean, it’s sketchy! Very creepy, unsettling stuff. Delia’s sculptures come alive to hold the witnesses in place for their impromptu ceremony, which are super weird and gothic through Burton’s eyes. Just cannot get enough of this effective finale. Also, the very last couple scenes are a whole ton of fun capping things off on a more lighthearted ghost story note.
lbf-bettlejuice-jambeTotally a 4.5 out of 5 star film for me. Always loved this and truly feel it’s an effectively dark comedy using shades of horror in the best way. Plus, it’s a satirical look at the traditional ghost, which makes the comedy work that much better. Combining the eccentric talent of Tim Burton with a couple of great performances, namely Michael Keaton as the titular ghost with the most, Beetlejuice elevates itself from just another comedy to something near legendary.
I’m beyond excited there’s going to, hopefully, be a sequel with Burton, Keaton, and Ryder all supposedly onboard for the ride! With that team, as well as the spirit of the original at heart, I bet a sequel could be almost as spectacular this time around as it was the first. Watch this for Halloween; great to put on any time, but even better around the fall season as the 31st approaches on the calendar.