Francine Parker: They’re still here.
Stephen: They’re after us. They know we’re still in here.
Peter: They’re after the place. They don’t know why; they just remember. Remember that they want to be in here.
Francine Parker: What the hell are they?
Peter: They’re us, that’s all, when there’s no more room in hell.
Peter: Something my granddad used to tell us. You know Macumba? Vodou. My granddad was a priest in Trinidad. He used to tell us, “When there’s no more room in hell, the dead will walk the Earth.”
Dawn of the Dead is among many things a very quotable movie. The scene above is probably everyone’s favorite, and for some there are more selective scenes to nibble on. Scientists arguing on what remains of the news broadcast. The SWAT incursion of the Philadelphia apartment building. The refueling scene, the dock scene, the shopping montage. The raiders and ensuing firefight. There are plenty. And if you were to ask me, I can’t really say if I personally have an all-time favorite scene, I mean let’s be honest here, there are so many to choose from. From the very beginning, Dawn of the Dead lures you in and keeps your attention rooted into the story. The pacing couldn’t be more perfect. Continue Reading
Read the following quote: “They’re already here! Help! You’re next! They’re coming! They’re coming!” Disturbed? Bothered? Maybe a little scared? Well, you should be. This quote is meant to knock you off kilter. In this 1978 remake of the classic 1956 “Invasion of the Body Snatchers” there are no pulled punches. With a surprised PG rating, the fear is turned up high, not with over-the-top gore or practical effects (though there are some really haunting scenes) or naughty language, but with an idea, a very real idea of not knowing the people around you. Who are they? We don’t know. You don’t know. But they’re odd. They talk without speaking. They look cold and calculated. The city is as it always has been, but slowly and surly those unknown faces are being replaced with even stranger ones. Stoic. Everywhere. And always watching.
Before we delve into this review, here’s a quick fire synopsis to jog your memory:
“This ‘remake’ of the classic horror film is set in San Francisco. Matthew Bennell (Donald Sutherland) assumes that when a friend (Brooke Adams) complains of her husband’s strange mood, it’s a marital issue. However, he begins to worry as more people report similar observations. His concern is confirmed when writer Jack Bellicec (Jeff Goldblum) and his wife (Veronica Cartwright) discover a mutated corpse. Besieged by an invisible enemy, Bennell must work quickly before the city is consumed” -Wiki
Let me back up.
Remember the quote at the beginning of our discussion? That quote comes from a very odd character, one you may recognize, if you’ve got a good eye. At the end of the 1956 film, producers felt on edge to leave the movie with the writer’s original script as Doctor Bennell walks down the freeway, shouting, “They’re here already! You’re next!” Instead, they added the scene which implied the FBI rescuing America, rushing in and destroying the invaders. The quote at the beginning is from the 1978 version, with notions of 1956, where we find the leading cast members driving in the city and theorizing. Matthew Bennell is attempting to calm his love interest, Elizabeth, who is convinced something is terribly wrong with her live-in boyfriend, Geoffrey. “He’s just…different,” she says. All of a sudden, a man dashes out and lands on the hood of Matthew’s car. He’s grey haired with wide bloodshot eyes and looks eerily like Dr. Miles Bennell from that small town in California. Panicked, he begs for help. Realizing, no help will be given, he warns Matthew and Elizabeth…”They’re here,” he shouts. “They’re coming!” And he dashes off, only to be run down in the middle of the street. This little scene is the most genius one in the film. Not saying there aren’t other more jarring scenes, because there are, but this one is superb because it ties together the past to the present.
The scene also implies that the events of 1956 did not end with the salvation from the hands of the FBI, but the invasion has continued to grow, slowly, and now, those “pods” have set sights on the budding metropolis of San Francisco, and as we see during the dockside events in the 1978 Invasion movie, as the “pods” are being loaded into the ships docked at port, the world seems to be their game. While in 1956, the invasion event was isolated to the small town… that’s simply not the case anymore.
There are so few remakes nowadays that are as brilliant as this one, if we can even call Invasion of the Body Snatchers a remake, just as it is difficult to call John Carpenter’s The Thing a remake as well, though he has testified, calling his work as such. One would think, given the way remakes and reboots are the norm today, someone within the echelons of Hollywood would remember the key elements from classic remakes of original films. To make a remake great, or even attempt to create something even more grandiose than the original, as we’ve seen in Invasion of the Body Snatchers, there must be a balance between disassembling what made the original great, understanding those themes and nuances, and then reassembling the components into something new. And of course we would hope the remake was thoroughly thought-out and warranted as well. If the balance is done right, the remake shouldn’t feel like a remake at all, but another “title” movie. Personally, I don’t even like using the term “remake” for films like these. If the balance is done right, I’d rather call them “continuations.” But I know I am in the minority with such notions.
Originality, of course, is the name of the game, and Invasion of the Body Snatchers has it in spades. The relationships are what sold me. Donald Sutherland as the hardnosed Health Inspector, who is as sharp as a razor with snobby overpriced restaurant owners, always with a keen eye for rat turds, but is soft as rose petals and somewhat blinded with his love interest, and unavailable by the way, Elisabeth Driscoll, played by the fantastic Brooke Adams. Watching them on screen is mesmerizing. How he loves her, yet understands he cannot have her, but still wants to protect her. And how can we forget the dynamic between pop-psychologist Dr. David Kibner, played by late-great Leonard Nimoy and Jack Bellcec, a not-so-popular (or even published writer for that matter) philosopher who scoffs at how easily Kibner pumps outs books; also one of Jeff Goldblum’s earlier roles by the way. I found it very interesting how the first of the friends to put the mystery together, though perhaps she went a bit far in her “Worlds in Collision” and “Flowers in Space” paranoia, was Nancy Bellcec (played by Alien star Veronica Cartwright), Jake’s wife, who at the end (SPOILERS!) is the sole survivor of the small party of friends. And it gives me even more pause in how she survived. Every time she is swallowed up by the crowd and separated from Matthew and Elizabeth, we assume she was “taken.” However, there she is, she turns up unscathed because she has learned to “act” like one of the “pods.” Though how much of that is really an act, I wonder. When Matthew and Elizabeth are discovered, unable to hid their humanity and doing a poor job “blending in,” Nancy quietly disappears into the mob as they turn on her friends only to turn up again at the end. What does her character tell us? What questions does she raise? Perhaps, that to survive a world in which individuality has faded into a common core one must assimilate similar behavior of the so-called “hive mind…” It certainly begs the question of what the original writers were thinking (be it fear of Communism or fear of Conservatism), and of course what was Kaufman thinking as well.
To all of these questions, I imagine, we must answer for ourselves.
With a face only a mother could love, Thomas S. Flowers hides away to create character-driven stories of dark fiction. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was soon published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books on a wide range of strange yet oddly related topics. You can hide from Thomas by joining his author newsletter at http://goo.gl/2CozdE.
Hungry for a TALE with gory substance?
Pick up FEAST for only $2.99 on Amazon!!!
Let me just say, that I have been a Romero fan for a very long time. Longer than when I started considering myself a “horror guy.” I’ve been a fan, considering my age, since the release of Savini’s directorial foray with Night of the Living Dead. Even after finally watching the original (of which I love more now that I’m older), I still consider the remake as a Romero flick. Why? Simple enough. He wrote it. Savini directed. End of story.
The feel I had watching one of Romero’s “dead” flicks is a very fond and pleasant memory. Friday night. Popcorn. Pizza. Junk food. The life, right? I still get that feel watching movies, but especially horror movies, and even more especially when watching any one of Romero’s trilogy: Night, Dawn, Day.
When I finally sat down to watch Dawn of the Dead, the movie became an instant favorite. I wouldn’t dare say Dawn is better than Night, but Day…well..
So, why am I a Romero fan? Good question. In all of film, horror is the most honest. Horror will show you the ugly mess society often turns things. Film makers normally are not intentionally making a movies with social commentary in mind; social commentary is usually a byproduct of the times the movie was made. However, with horror, more often than not, social commentary is intentional. Or at least most of the time! And Dawn of the Dead, all of Romero’s original trilogy, even Diary of the Dead, are chocked full of subversive commentary!!
This is part of the reason why I’m turned on to horror. You can tell a fun and exciting story, filled with interesting characters and creatures, whilst also turning over the apple cart, as Romero has said during an interview with Nightmares in the Red, White, and Blue. With horror, you can be as brutally honest as you want, just so long as it makes sense politically, and in the context of the story.
Dawn of the Dead was released in 1978, yet amazingly and tragically (in a way) its bit on consumerism is still so very relevant. The things that fill the void, so to speak. Stuff can only make us happy for a little while..and then.. “What the hell are they?” And so on!