RIP George Romero, 77

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  1. il ragno Proud American Deplorable

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    George A. Romero, Father of the Zombie Film, Dead at 77

    NEW YORK (AP) — George Romero, whose classic “Night of the Living Dead” and other horror films turned zombie movies into social commentaries and who saw his flesh-devouring undead spawn countless imitators, remakes and homages, has died. He was 77.

    Romero died Sunday following a battle with lung cancer, said his family in a statement provided by his manager Chris Roe. Romero’s family said he died while listening to the score of “The Quiet Man,” one of his favorite films, with his wife, Suzanne Desrocher, and daughter, Tina Romero, by this side.

    Romero is credited with reinventing the movie zombie with his directorial debut, the 1968 cult classic, “Night of the Living Dead.” The movie set the rules imitators lived by: Zombies move slowly, lust for human flesh and can only be killed when shot in the head. If a zombie bites a human, the person dies and returns as a zombie.

    Romero’s zombies, however, were always more than mere cannibals; they were metaphors for conformity, racism, mall culture, militarism, class differences and other social ills.

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    “The zombies, they could be anything,” Romero told The Associated Press in 2008. “They could be an avalanche, they could be a hurricane. It’s a disaster out there. The stories are about how people fail to respond in the proper way. They fail to address it. They keep trying to stick where they are, instead of recognizing maybe this is too big for us to try to maintain. That’s the part of it that I’ve always enjoyed.”

    “Night of the Living Dead,” made for about $100,000, featured flesh-hungry ghouls trying to feast on humans holed up in a Pennsylvania house. In 1999, the Library of Congress inducted the black-and-white masterpiece into the National Registry of Films.

    Many considered the film to be a critique on racism in America. The sole black character survives the zombies, but he is fatally shot by rescuers.

    Ten years after “Night of the Living Dead,” Romero made “Dawn of the Dead,” where human survivors take refuge from the undead in a mall and then turn on each other as the zombies stumble around the shopping complex.

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    Film critic Roger Ebert called it “one of the best horror films ever made — and, as an inescapable result, one of the most horrifying. It is gruesome, sickening, disgusting, violent, brutal and appalling. It is also … brilliantly crafted, funny, droll, and savagely merciless in its satiric view of the American consumer society.”

    Romero had a sometimes combative relationship with the genre he helped create. He called “The Walking Dead” a “soap opera” and said big-budget films like “World War Z” made modest zombie films impossible. Romero maintained that he wouldn’t make horror films he couldn’t fill them with political statements.

    “People say, ‘You’re trapped in this genre. You’re a horror guy.’ I say, ’Wait a minute, I’m able to say exactly what I think,” Romero told the AP. “I’m able to talk about, comment about, take snapshots of what’s going on at the time. I don’t feel trapped. I feel this is my way of being able to express myself.”

    The third in the Romero’s zombie series, 1985′s “Day of the Dead,” was a critical and commercial failure. There wouldn’t be another “Dead” film for two decades.

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    “Land of the Dead” in 2005 was the most star-packed of the bunch — the cast included Dennis Hooper, John Leguizamo, Asia Argento and Simon Baker. Two years later came “Diary of the Dead,” another box-office failure.

    There were other movies interspersed with the “Dead” films, including “The Crazies” (1973), “Martin” (1977), “Creepshow” (1982), “Monkey Shines” (1988) and “The Dark Half” (1993).

    There also was 1981′s “Knightriders,” Romero’s take on the Arthurian legend featuring motorcycling jousters. Some were moderately successful, others box-office flops.

    George Andrew Romero was born on Feb. 4, 1940, in New York City. He grew up in the Bronx, and he was a fan of horror comics and movies in the pre-VCR era.

    “I grew up at the Loews American in the Bronx,” he wrote in an issue of the British Film Institute’s Sight and Sound magazine in 2002.

    His favorite film was Michael Powell and Emeric Pressburger’s “The Tales of Hoffman,” based on Jacques Offenbach’s opera. It was, he once wrote, “the one movie that made me want to make movies.”

    He spoke fondly of traveling to Manhattan to rent a 16mm version of the film from a distribution house. When the film was unavailable, Romero said, it was because another “kid” had rented it — Martin Scorsese.

    Romero graduated from Carnegie Mellon University in Pittsburgh in 1960. He learned the movie business working on the sets of movies and “Mister Rogers’ Neighborhood,” which was shot in Pittsburgh.

    The city became Romero’s home and many of his films were set in western Pennsylvania. “Dawn of the Dead” was filmed in suburban Monroeville Mall, which has since become a popular destination for his fans.

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  2. Ozzy Bon Halen LOLworthy Threadmonkey & Critic Of Texas Dentistry

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    I heard that the embalmer was given strict orders to shoot him in the head if he gets back up, starts walking & demanding to eat brains.
  3. il ragno Proud American Deplorable

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    I know, we all loved the then-groundbreaking blood and gore of DAWN and DAY - but as time marches on, by far the creepiest and most powerful one is that shot-for-peanuts B&W original. Romero was one of those disreputable pioneers who discovered the secret to truly great modern horror is keep big money, and the Hollywood machine holding it out under your nose to tempt you, away from your movie.

    He really did learn that, because he turned the money down for so damn long - decades - until the entire changing economics of making and distributing a feature film left him no choice. (Though the biggest budget he would work with in his Hollywood period would barely represent tip money to a Brett Ratner or somesuch kike vulgarian.) After that, it was a lot of lip service for his early work and George A Who? And they had a point: besides CREEPSHOW, most of his 'Hollywood' projects were outright failures....if the movies were anything to go by, he must've been truly miserable working with stars and big crews and craft-services catering instead of pizza boxes and Big Mac wrappers. But even in his lousiest misfire, you always felt the hand of the artist trying to wriggle out of its velvet restraints, which is more than you can say for most of his camp-followers and imitators.
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