A peach of a soundtrack to look at is the Trunk Record’s compilation of some of the De Wolfe library music that was used within George A Romero’s masterpiece Dawn of the Dead. The fact that Romero used muzak that would be played inside a shopping mall within a film set in a shopping mall was both genius and audacious.
To use music that was intended as background music at best and drag it centre stage and use it within a film that would be placed under the microscope and examined closely by both critics and audiences was quite a gamble. Would the plastic music cheapen the film and dilute it’s power? Would critics and audiences alike ridicule the film because of the music used within it?
The answer was a resounding NO! Romero’s vision was so precise, well defined and strong that the use of library music added yet another layer of meaning to the film. Hence we get the goofy genius of The Gonk by Herbert Chappell, the otherworldly and futuristic Figment by Park, the strangely introspective and minimalist Desert de Glace by Pierre Arvay and the melancholic Sun High by Simon Park all used to underscore and emphasise key scenes within the film.
Just as the tracks gave Dawn of the Dead more meaning, so the film also gave the tracks a new dimension of meaning. It was the cinematic equivalent of Andy Warhol’s silk screens of Campbell soup cans and their being analysed in art galleries after being taken out of the supermarket. Genius.
I’ve heard songs from Dawn also used in schools programmes, porno movies, episodes of The Sweeney and Prisoner Cell Block H. That’s a testament to the tracks brilliance and versatility.
This collection of these songs hangs together very well indeed and feels like revisiting old friends as Dawn replays in your head as you listen to them. Essential.
The sequel to George A Romero’s Night of the Living Dead shows that the zombie epidemic has gotten much worse and society is on it’s knees. Two television workers plan to escape with two SWAT team members in the TV station traffic helicopter in search of…whatever they can find that’s better than their current situation.
There is so much to love about this friggin’ film. The tenement opening scene (the shoulder bite was cut by the BBFC as was the exploding head), the way the film suddenly changes course completely as the four fly off in the helicopter, the scene where they land to fill up the copter with fuel (theres the taboo of zombie kids being shot here. Theres also the amazing scene of the zombie having his head decapitated by the helicopter’s blades) and then we get to THE SHOPPING MALL!!!
The mall is one of the greatest locations ever used in a film. Imagine having this shopping centre at your personal disposal with everything inside being free and your property. I love Romero’s social commentary regarding this. The dream of consumerism quickly rings hollow as do the images being conveyed within the advertising produced before the zombie epidemic. Within the extended cut of Dawn (which is just as good, if not better than the original theatrical cut of the movie) the female character Francine is the only person who wants to leave the mall when the topic comes up of whether to move on or not. The men state that they have everything they need here and so should stay but Francine says that the mall is ‘a rut. A trap’. Ans she’s completely right.
The zombies continue to come to the mall (Stephen mentions that ‘this was a big part of their lives’) which is a brilliantly wry observation by Romero. In this film the living dead have a very aesthetically pleasing blue tinge to their skin. Within the film the blood is redder than red making the film fully realise it’s comic-book vision. But it’s more than this. The film looks like a series of Pop Art paintings come to life. Andy Warhol had plenty to say about consumerism and mass production (his studio was called ‘The Factory’). It’s almost like he was art director on this opus.
But aside from all of the insights and allegories, this film is just great, great fun! The kills are innovative, disgusting and completely brilliant (Tom Savini returns to make-up and special effects duties and this film is probably the best demonstration of his work). Savini also stars as the members of a biker gang who try to take over the mall and seize it from the main four characters.
Wanna see a custard pie fight between bikers and zombies? Wanna see a zombie Hare Krishna, nurse and nun? Wanna see John Amplas (the lead from Romero’s earlier ‘Martin’) as a Pop Art Hispanic dude? It’s all in this film- and much much more.
I also love the character arc for Francine and the bromance between Peter and Roger.
When I was growing up I loved the Nanny State Public Information Films. They were akin to state produced horror shorts extolling the dangers of everything from playing near rivers to mixing different types of tyres on the same vehicle.
Beware The Rapist is an American PIF (called Public Service Announcements or PSA’s over there) made in 1979. Produced at the height of some of the most prolific serial killers being at large (Ted Bundy is obviously the inspiration for the preppy looking Christmas card salesman, the balaclava wearing perverts could easily be based on The Golden State Killer) this film offers common sense advice to vulnerable women so that they come to no harm.
This advice sometimes comes across as extreme (‘once you get home, lock yourself in!’) but this is shown to be better than becoming another victim. This film holds up a mirror to society at that time and the ghoulish events happening with shocking regularity. But it also reflects the somewhat doom-laden advice from American authorities. Protect yourself- or else!
This is a treat for horror and exploitation fans. Gritty, nerve-jangling and based on fact. Truth is stranger- and more brutal- than fiction.
Beware The Rapist depicts many different scenarios and locales that can suddenly turn nightmarish. Every setting is here- the laundry room, in the supposed safety of one’s car, the late night walk home. In many ways this film reminds me of the ‘urban horror’ situations depicted in the opening credits of the mid-80’s crime series The Equalizer.
The music used is library based. The same library music used for Dawn of the Dead or the genius Australian women’s prison drama Prisoner Cell Block H. And if that isn’t enough of a recommendation then what is?
A boat sails into New York but the only person onboard happens to be a morbidly obese zombie who seems to be pissed off and hungry. The daughter of the boat’s owner decides to venture to where her father had been, a Caribbean island called Matul. She takes along with her a journalist who smells a story.
This film was butchered by the BBFC on its initial release. The distributors decided to release a stronger uncut version that then lead to the film being banned and placed on the DPP video nasties list.
This film is reknowned for going the extra mile. Ever wondered what would happen if a zombie took on a shark? Of course you have! This film features it. Add to the mix a revolutionary eye-gouging scene, a great score by Fabio Frizzi and one of the most iconic ending scenes in horror history. Oh, and some of the most annoyed zombies with especially bad attitudes and you have a great movie.
This Italian shocker directed by maestro Lucio Fulci actually billed itself as a sequel to the Argento cut of Dawn of the Dead in Italy. Is it a masterpiece like Dawn? No. But its still one hell of a ride.