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Dawn Of The Dead

© James C. Hess

Horror redux.

When I was in college I tried to cover bases assignment-wise for three classes by writing one paper: A term paper about how politics, economics, and movie-making operate on a cyclical basis, how it was--and is--these cycles run parallel to one another, but never intertwine, and how it was--and is--that when these cycles come to a certain point interesting things in the popular culture, within these given arenas, happen. For example, a tax cut implemented during a Republican administration tends to take full effect during a Democratic administration: A political and economical cycle coming full circle. For example, when a tax cut is implemented and takes affect the Hollywood Machine comes unnerved (why I never understood, because the Great Unwashed Masses subsequently have more money to see more films and movies with), and proceeds to produce and theatrically release some gawd-awful flicks, often remakes of equally horrific cinematic efforts.

For example, "Dawn Of The Dead", once made by the master of the macabre, George A. Romero, remade by the likes of Zack Snyder.

Understand: Romero's version of this film was by no means terrible, but given constraints imposed on it by time and budget, well, it wasn't quite what it could have been. But now comes a remake of it and--how to put this as insultingly as possible--what is the point? The point is my thesis, all those years ago, is proven. In spades: Things political, economic, and cinematic move in cycles, and this particular cycle is now complete.

Understand: Snyder's version is not without merit--it is technically superior to the original--but, well, why even make this movie? And do it in such way that what made the original so unique is conspicious by its absence? That being Romero's dark sense of humor with regards to America's desire to consume. Anything. Everything. Including, it seems, each other.

Further, what made Romero's film the cult effort it was and remains--humanity against its potential darker side--is gone. GONE!

So why make this movie? It goes, I suggest, to politics and economics: When people feel threatened, often by way of politics and economics, they want entertainment that contextually threatens them.

And what is more threatening that a horror movie? Especially one that features ghouls, zombies, and flesh eaters.

Now I could easily and readily continue a comparison between these two efforts but there is no point to doing so, owing much to a certain fact: George A. Romero made one film while Mr. Zack Snyder made a movie, and like those cycles previously proposed, they run parallel to one another, never intertwining.

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