The Fog Opening

An excellent opening to an excellent film.

Can't think of no better way to come back from a long hiatus... than to cheat and adjust the date to line up with the ghost story from John Carpenter's classic, The Fog.

Shin Godzilla

 "Now I am become Death, the destroyer of worlds."

This quote by Oppenheimer accompanied the incredibly bleak trailer for 2014's Legendary production of Godzilla.  As much as I liked the American film, I could never get over my disappointment that the movie itself didn't take the dark direction depicted in that teaser.  I was genuinely hoping for an apocalyptic, genuinely terrifying Godzilla film.

While Shin Godzilla doesn't fully meet this aspiration, it certainly comes the closest out of so far 31 films created in the long-running franchise.  It most definitely is the closest to approaching the somber tone of the original 1954 movie, focusing on the plight of humanity caught in the path of an unstoppable threat and hearkening back to Godzilla's roots as a nuclear nightmare created by mankind's hubris.

Spoilers follow...

It is interesting to note that in Japanese, the phrase "Shin" can actually has a variety of meanings that are appropriate to the film's plot:  In Japanese shin can mean "God", or "True".  In this film, Godzilla is regularly likened to a god.  Not only is the monster a towering, terrifying visage to behold and capable of destruction on a massive scale, but this Godzilla is a constantly evolving beast that is not only a threat to Japan, but to the rest of the world.

Like the original 1954 film, I think that Shin Godzilla requires some knowledge of Japanese culture and events.  While the original movie was a thinly-veiled allegory for the 1945 atomic bombing of Hiroshima and Nagasaki, this film recalls the powerful 2011 Fukushima earthquake and subsequent tsunami which led to another nuclear disaster when it caused a meltdown of a power plant, resulting in mass contamination.  The ever-escalating nature of this cataclysmic event is reflected in the film as Godzilla becomes increasingly powerful and dangerous.

Furthermore, the film can be viewed as a sharp critique of Japanese government.  Many Japanese citizens felt that the government's response to the Fukushima tragedy was horribly ineffective.  Throughout Shin Godzilla, the government officials are depicted as a collection of bumbling old men who are more concerned with adhering to inefficient protocols and protecting their public image.

This political commentary exposes an apathetically sluggish, bureaucratic monster perhaps more terrifying the rampaging, radioactive variety.  The government officials squabbling over just what to do frames the narrative of the film.  For many, this probably comes across as tedious and boring, but I found these scenes to be dramatically engaging - and sometimes hilarious.  At one point in the film, just when you think the government is prepared to take some action, they do...  By moving to another conference room to continue their discussion and wring their hands some more.  In another scene, the Prime minister dons disaster relief coveralls - as if he is actually involved in rescue efforts - to go on live TV and assure the Japanese populace that Godzilla could not come ashore.  Just after he makes this announcement, an assistant informs him from off-screen that the monster has just made landfall.

The heroes of the film are a band of "misfits" led by Rando Yaguchi (played by Hiroki Hasegawa), a young politician willing to cast aside rank and protocol to save his country.  It is Yaguchi's team which proves to be the most capable at dealing with the disaster at hand, despite additional complications in the form of the American government threatening to use an atomic bomb to destroy Godzilla.  Yaguchi and his group are given a window of opportunity to formulating a plan to stop the monster in its tracks themselves, or face annihilation at the hands of either Godzilla or yet another atomic bombing from United States.

This is Toho's first Godzilla film since 2004's Final Wars and it definitely represents a redirection for the franchise.  It's as grounded as a movie featuring an hulking atomic creature can be, approaching the subject from a more realistic perspective delving into the political and even economic ramifications of a giant monster attack on Japan.  Shin Godzilla was co-directed by Hideaki Anno and Shinji Higuchi who had previously worked together on the anime Neon Genesis Evangelion - which certainly explains a lot of the decidedly different creative decisions.

One big divergence from Toho's standard practices to understand from the onset is that this is the first Toho Godzilla movie to not relate back to the original film.  Both the Heisei and Millenium series acknowledged the 1954 film as part of their continuity - even if they ignored all other entries in the series - making Shin Godzilla the first true "reboot" of the entire Toho Godzilla filmography!

However, receiving the most criticism from many long-time Godzilla fans is the design of the monster itself, which "evolves" throughout the film.  For this movie, Godzilla's origin is once again tweaked, as the monster is spawned from microorganisms steadily mutating from feasting on nuclear waste found on the ocean floor.  The creature starts off as an odd-looking eel-like beast confined to the water, the thing eventually makes its way onto land and stands upright.  These early forms could come off as goofy, but I found them to be kind of disturbing and unsettling.  The eel-like form gushes streams of blood from its gills as it haphazardly crawls down the street with sickly undulating movements.  The "evolution" aspect doesn't bother me as it alludes to the Fukushima disaster and builds suspense as the characters question how the situation could possibly get any worse.

The monster wreaks some havoc before returning to the ocean to further metamorphosize.  When it returns to shore, it now resembles the Godzilla we know and love...  Only this time around Godzilla is a truly grotesque monster:  This design features tiny lidless eyes blankly staring downward, a gaping mouth full of needle-like teeth, emaciated arms befitting a formerly aquatic creature, energy radiating from scar-like openings in its skin, and a massive tail hypnotically wafting through the air behind the creature.  As I've said before, design looks like what I would expect a radioactive mutation to look like - while paying homage to the original design.  Godzilla is an abomination of nature that shouldn't exist and the monster appropriately misshapen and horrific in appearance.

Godzilla's behavior is atypical as well.  In previous films the monster's actions are oftentimes depicted as one or two extremes:  Either Godzilla is deliberately malicious, with wicked intentions bent on destruction or Godzilla is a noble hero acting as humanity's defender against a greater foe.  In Shin Godzilla however the monster eerily moves inland with a single-minded purpose known only to Godzilla itself.  Again, I find this to be appropriate:  Godzilla is completely unconcerned with the destruction it is causing and totally unfazed by military acts against it, the monster just plows through whatever happens to be in its way.

It's only when the monster is provoked in a manner it cannot ignore and seems to be injured by American bombers that Godzilla directly respond in any way to the actions of humanity.  It's at this point that reveals its true destructive capabilities.  In an unforgettable scene, Godzilla unleashes what is probably the most devastating variation of its atomic ray we have ever witnessed onscreen, as well as a few abilities audiences have never seen before.  I won't go into further detail because it's something I think needs to been seen to fully appreciated.

As far as cinematography goes, this might be the best we've seen in a Godzilla film to date.  There are some amazing images onscreen throughout the movie that really give you a sense of Godzilla's massive scale and the chaos the monster's unleashing on Japan's infrastructure.  One scene in particular that stands out is during the night when Godzilla reaches Tokyo and apparently walks over a power plant.  The lights across the city flicker until entire sections go out one at a time, finally leaving only ambient light, minor explosions and a wide-shot of Godzilla's own red glow to illuminate the action.

The music is also amazing.  Surprisingly, the majority of the music is from fan-favorite and original Godzilla composer Akira Ifubuke.  Many of Ifubuke's pieces from previous Godzilla films are integrated into movie, appealing to the nostalgia of long-time fans.  Perhaps the most effective use of this is exemplified when Godzilla first stands up and a cue is taken straight from the 1954 film. However, the film's actual composer - Shiro Sagisu - does a fantastic job himself.  In particular are the standout compositions "Persecution of the Masses" and "Who Will Know" which are somber, and haunting pieces used to great effect in the film.

The only faults I can find with the film are in its pacing, a few performances, and effects, although each of these are very minor complaints.  As mentioned before, much of the film deals with government officials scrambling to find the best way to deal with Godzilla.  While this works well at the beginning of the movie to establish the governments incompetency, once the focus shifts to Godzilla in its final form and Yaguchi's team making their plans, it seems like less time could be spent in the conference rooms.  The film's final acts could benefit greatly from a trimming of these scenes.

For American audiences, the acting of a few characters will no doubt be very off-putting.  Satomi Ishihara plays an American ambassador with political aspirations who works with Yaguchi's team in the film.  At a few points she speaks English, which in the subtitled version of the film I saw, was very jarring.  Her delivery isn't the best, and probably more obvious to Americans.  Along the same line, the focus shifts briefly to American leaders - all seen from behind - ominously discussing the situation in Japan.  I'm not sure who these actors are, but their delivery seemed overly dramatic to the point that it was kind of funny.  Again, this may just be my bias as an American coming through.  Other than these, it seemed like the cast did a fine job, although my favorite characters are Yaguchi's extremely focused biology expert and the Minister of Agriculture.

Overall, the effects are strong, with a few hiccups.  To my understanding, Godzilla was brought to life using motion capture and CGI, which is a first for Toho.  For the most part, the creature looks convincing enough - even to the point that one could be fulled into thinking the traditional method of man-in-rubber-suit was employed once again.  However there are a few moments in which the CG is wonky, especially when it comes to some of the military vehicles mounting an attack on Godzilla.  Again, just a minor complaint, because the rest of the film looks great in my opinion.

It's difficult to talk about Shin Godzilla without thinking about the potential for future sequels...  Indeed, the movie ends with a very interesting cliffhanger:  Godzilla's energy is depleted through the use of its atomic breath and goes into a sort of dormancy.  This allows Yaguchi's team to begin the mass production a coagulant which a coordinated Japanese offensive manage to force-feed the monster.  Thus Godzilla ends up subdued, in a state of suspended animation.  Though the reign of destruction is over, this is merely a temporary reprieve as the monster's threat still looms, frozen right in the very heart of Tokyo!

Throughout the film, scientists express concerns about the rate at which Godzilla is evolving and worry about whether or not it has the capability of reproducing asexually.  Prior to the film's release, many fans wondered and speculated about the odd design of Godzilla's tail.  The movie ends with Godzilla being defeated for the moment, there is no music as camera turns our attention to this unusual feature of the monster's anatomy...

What are these strange, humanoid creatures spawning from Godzilla's tail?  Is the monster indeed reproducing?  It would seem that this is the case!  It's definitely something to speculate on as Toho considers creating a sequel!

Personally, I enjoyed Shin Godzilla.  It's definitely an exciting time to be a Godzilla fan with Legendary's franchise moving forward as well as Toho's...  the first time that Godzilla movies are being produced by both America and Japan!

Universal Monsters... By Alex Ross!

This is truly exciting news!  Alex Ross an artist most famous for his life-like renditions of superheros (how have I not shared a post on this guy?) has announced that he has a created a series of illustrations based on the Universal Monsters!  The series isn't actually going to be released until next year, but in the meantime enjoy the amazing artwork featuring almost the entire gang!

In Memory of John Zacherle

John Zacherle, also known as Zacherley, the "Cool Ghoul" has passed away.

Zacherle was one of the pioneering horror hosts who was most famous for his work on "Shock Theater" in the late 50's and early 60's.  Taking on the stage name Roland and later Zacherley, he not only introduced (and sometimes interrupted) the monster movies, but created a memorable crazed ghoul character, performing macabre skits infused with campy dark humor and gore.  He famously took advantage of the program being filmed in black-and-white, using Hershey's syrup as a cheap, but very effective stand-in for blood.

The monster/horror craze was at a fever pitch when Zacherle hosted "Shock Theater" and the actor amassed a cult following.  He was so popular at the time that he actually had a stint on the record charts (Top Ten Novelty Rock) for his song, "Dinner with Drac" in 1958.

Beyond his role as horror host, Zacherle worked on a variety of other television programs, radio, and voice work in movies.  But his work as Zacherley was to be his most famous role, and he apparently relished it.  Zacherle attended conventions and even got back into character time and again for various programs and events well into his 90's!

Beloved by Monster Kids everywhere, Zacherley will be greatly missed and certainly not forgotten.

"Persecution of the Masses"

Shin Gojira or Godzilla: Resurgence is coming to American theaters this upcoming week and I'm counting down the days with great anticipation.

In addition to being a longtime Godzilla fan, I also enjoy a good soundtrack.  Based on what little I've heard so far, it seems like the music for Shin Godzilla will be another classic theme for the series.

The track starts out with sound effects from the original film which is a great nod to Godzilla's roots.  From what I've read this is just one of many homages to earlier Godzilla films that are to be found in the new movie.  It's great to know this as a fan, that the filmmakers apparently have a deep respect for the character and its history.

The music itself is incredibly haunting and moody.  Shiro Sagisu conveys a great sense of tragedy, but also a feeling of hope.  This fits well considering that much of the promotional materials released up to this point have played up the "Godzilla versus Japan" angle.  The monster is going to wreak a lot of destruction, killing numerous in its wake, but Japan is going to fight back.  I'm so glad to see the series going back to its roots, featuring a Godzilla that is an unstoppable force of nature.

I realize that there's a lot of supposition based on just one piece of music, but I have very high hopes for this movie.  I'll post my thoughts on the Shin Gojira sometime next week after I've seen it.

Classic Horror on TCM!

Well...  Good job, Turner Classic Movies.  I'm not going to have much room left on my DVR after October!

I don't know how many of you have access to the TCM channel, but I thought I would share a portion of their programming schedule for this month which is dedicated to classic horror films!  TCM is celebrating Halloween all month long with a great selection of vintage movies, including films from the silent era, the original Universal classics, and the Hammer films as well!

Friday, 7th
Nosferatu (1922) @ 8pm
The Cabinet of Dr. Caligari (1920) @ 9:45pm
The Unholy Three (1925) @ 11:15pm
Phantom of the Opera (1925) @ 1am

Saturday, 9th 
Ghost of Frankenstein (1942) @ 8pm
Frankenstein meets the Wolfman (1943) @ 9:15
House of Frankenstein (1944) @ 10:45pm
Dr. Jekyll and Mr. Hyde (1920) @ 12:15

Sunday, 16th 
The Curse of Frankenstein (1957) @ 8pm
The Revenge of Frankenstein (1958) @ 9:45pm

Monday, 17th 
Horror Hotel (1960) @ 8pm
Horror Express (1972) @ 9:30pm
The House that Dripped Blood (1970) @ 11:15pm
The Creeping Flesh (1972) @ 1:15am

February, 21st 
Dr. Jekyll and Mr. Hyde (1941) @ 8pm
Eyes Without a Face (1960) @ 10:00pm
The Body Snacher (1945) @11:45pm
Phantom of the Rue Morgue (1954) @ 1:15am
Machabre (1958) @ 2:45am

Saturday, 22nd 
The Killer Shrews (1959) @ 6:45am
The Devil Bay (1940) @ 8am
The Seventh Victim (1943) @ 9:15am

Sunday, 23rd 
Frankenstein Created Woman (1967) @ 8pm
Frankenstein Must Be Destroyed (1970) @ 10pm
The Phantom Carriage (1922) @ 12am
Epidemic (1987) @ 2am

Monday, 24th 
The Gorgon (1964) @ 3:15pm
The Curse of Frankenstein (1957) @ 4:45pm
Rasputin, the Mad Monk (1966) @ 6:15pm
House of Dracula (1958) @8pm
Dracula, Prince of Darkness (1965) @ 9:30pm
Dracula Has Risen from the Grave (1969) @ 11:15pm
Taste The Blood of Dracula (1970) @ 1am
The Scars of Dracula (1970) @ 2:45am
Dracula A.D. (1972) @4:30am

Wednesday, 26th 
The Robot vs The Aztec Mummy (1965) @ 6am
The Time Machine (1960) @ 7:15am
Time After Time (1979) @ 9am
The Ice Pirates (1984) @ 1pm
Satellite In the Sky (1956) @ 2:45pm
Logan's Run (1975) @ 4:15pm
Soylent Green (1973) @ 6:15pm

Friday, 28th 
Dracula (1931) @ 8pm
The Mummy (1932) @ 9:30pm
The Invisible Man (1933) @ 11pm
THE Wolfman (1941) @ 12:15am
The Black Cat (1934) @ 1:30am
The Uninvited (1944) @ 2:45am
Island of Lost Souls (1933) @ 4:30am

Saturday, 29th 
The She-Doll 1936 @ 6am
Bedlam (1946) @ 9am
The Black Scorpion (1957) @ 12pm
The Blob (1958) @ 1:45pm
Village of The Dammed (1961) @ 3:15pm
The Thing From Another Would (1951) @ 4:45pm
Earth vs The Fling Saucers (1956) @ 6:30pm
Blood and Black Lace (1964) @ 8pm
Carnival of Souls (1962) @ 9:30pm
It's Alive (1974) @ 11pm
The Baby (1973) @ 12:45pm

Sunday, 30th 
The Tingler (1959) @ 12pm
The Hunchback of Notre Dame (1939) @ 1:30pm
The Abominable Dr. Philbes (1971) @ 6pm
Young Frankenstein (1974) @ 8pm
Abbott And Costello Meet Frankenstein (1947) @ 10pm
The Monster (1925) @ 12am

Monday, 31st 
Mark of The Vampire (1935) @ 6am
Walk With A Zombie 1943) @ 8:30am
Dementa 13 (1963) @ 9:45am
House of Wax (1953) @ 11:15am
Black Sabbath (1964) @ 12:45pm
Dead of Night (1945) @ 2:30pm
House on Haunted Hill (1958) @ 4:30pm
The Haunting (1963) @ 6pm
The Devils Bride (1968) @ 8pm
The Mummy (1959) @ 9:45pm
The Two Faces of Dr. Jekyll (1961) @ 2:45am
To The Devil, A Daughter (1976) @ 4:30am

Wanderer of the Wasteland

"Where must we go, we who wander this wasteland, in search of our better selves?"

- The First History of Man

Godzilla: Resurgance

It's old news by now, but Toho has finally shed some light on its new Godzilla film with an eye-catching poster offering a view of the newest version of everyone's favorite atomic monster!  

My thoughts so far:  When this teaser poster first surfaced, I was pretty excited.  This version of Godzilla looks pretty terrifying with those tiny, lidless eyes and all of the jagged, haphazard teeth filling his impossibly large mouth which looks eerily looks like a grin.  The new design definitely looks like a crazed mutant dinosaur ready to wreak some havoc!  I hope that this means we're in for a more horrific interpretation this time around!

The Force Is Strong With This One!

I may post a full review sometime in the near future, but for now I'm pleased to simply report that, as a long-time Star Wars fan, I'm pretty thrilled with how Episode VII turned out!

The Krampus Approaches...

Legendary's Krampus movie looks like it could be fun.  Unfortunately, I haven't been able to see it just yet.

In the meantime, I'm loving this haunting promotional image!

"Die Monster Die!"

Unfortunately, I have not seen this film...  But based on this great poster artwork, it looks like that needs to change soon!  

I really dig the composition with the sensational tagline at the top leading to the diagonal axe (with floating disembodied hands!) which draws your attention to the female victim and the movie's title.  I also love the color choice for Boris Karloff's face and his exaggeratedly stylized white, soulless eyes.

Walker Ruins

This AT-AT has seen better days...

Unfortunately, this is image sums up my performance on the Star Wars Battlefront Beta.

Awe-inspiring artwork by Tysen Johnson.

This is another piece that deserves to be seen in full-screen!

An Examination of Zombies in Popular Culture

With tomorrow night bringing our town's annual Zombie Walk festivities, the undead have been preying on my mind (not literally, thankfully), so I thought I would share a post on zombies that has been in the works for quite some time.

The zombie is unique among the various supernatural creatures that are presented within popular culture.

Many of our monsters have roots in literature, owing much of their origin to classic works.  For example, many of what we consider to be the essential traits contributing to our idea of what exactly defines a vampire is owed to Bram Stoker's novel Dracula.

The genesis of the zombie, however, is rooted actual tradition and folklore, only later to be further molded by popular fiction and movies until morphing into the modern incarnation we most widely recognize today.

Zombies of Voodoo Tradition

Traditional zombies are the product of Haitian Voodoo rites.  In fact, the term we use today is derived from the Haitian word "zombi" which means "spirit of the dead".

In Voodoo folklore, priests known as Bokor could seemingly kill a targeted individual through the use of a powder derived from the poison of a blowfish.  When ingested, this toxin could apparently slow a victim's heart-rate and breathing to a near standstill.  Their physiology  would be so adversely affected that even their body temperature would drop dramatically.  Thus, the afflicted would be presumed dead and ultimately buried by friends and family.  Later, however, the Bokor would return to the still-living victim's grave site to retrieve them.  The newly "resurrected" zombi would have no memory of their former life and would henceforth live as a mindless servant to the whims of the Bokor.

There are apparently actual accounts of real-life accounts of zombis.  Such accounts have been reported by Western scientists since the 1930's and serious medical studies have investigated and documented the zombi phenomenon even as recently as the 1980's.

In popular culture White Zombie, I Walked with a Zombie and other horror films introduced zombies to a wider audience.  These first films to feature zombies relied heavily on the folklore traditions of voodoo practices, but often took creative liberties.  The Voodoo practitioners or witch doctors in such films controlled their unthinking victims through hypnotism or some form black magic.  These brain-dead drones would carry out nefarious deeds to satisfy their wicked masters.

Some films, such as the zombie movies produced by the British studio Hammer Films, presented the idea that zombies could be the resurrected and reanimated dead.  In Plague of Zombies, for example, rotted corpses burst forth from coffins and erupt from their graves. Thus, future undead incarnations found their influence.

Undead Revenants

Across cultures there are tales of the dead rising again to seek vengeance against those who wronged them in life.  Whether it be ghosts or reanimated corpses, revenants also play an important role in the history of zombies.

A revenant is generally defined as one that has returned from death (or a long absence).  In fantasy fiction, a revanant could be a vengeful spirit or a reanimated creature that was resurrected for the sole purpose of seeking retribution and are primarily supernatural in origin.  Revenants have a long history in folklore and were commonly manifested as ghosts returning to torment those that had wronged or even killed them in their former life.  However, some stories actually featured living corpses rather than phantom spirits.

It was EC Comics (and other comic publishers around the same time) that popularized this form of zombie which would often appear in their warped morality plays in titles such as Tales from the Crypt.  Usually a revenant undead would return after previously being betrayed or murdered by someone they trusted previously in the plot (usually a love triangle affair of some kind).  The revenants in these stories were generally depicted as horribly decayed corpses (regardless of how long they had actually been dead) and they usually dispatched of their intended targets in some grisly, ironic fashion.

  

Creepshow, a horror/comedy anthology film influenced heavily by EC Comics has two segments featuring undead revenants.  In "Father's Day" the murdered patriarch of the family returns in a decomposed form to exact revenge, while in "Something to Tide You Over" two drowned lovers come back to return the favor.  This particular feature, a sentient will and definitive motivation (though limited), sets revenant undead apart from other zombies.  Other features that make this group unique are the capability of speech, possessing superhuman strength that belies their rotting state or sometimes other supernatural powers.

Romero's Zombies

In 1968, George Romero's Night of the Living Dead forever changed the popular perception of zombies.  In this film, zombies were depicted as mindless, reanimated corpses that had only one motivation:  a cannibalistic need to feed on the flesh of the living.  These undead were resurrected by mysterious, ambiguous means.  The film hints that reanimation could be a result of radiation emitted by a recently returned space probe, but Romero contends that there is no explanation aside from "God changed the rules; Hell is full."

While not actually called "zombies" at any point (they're referred to as "ghouls" in the first film), Romero's Living Dead series (Night of the Living Dead, Dawn of the Dead, and Day of the Dead...  and eventually others) cemented several tropes that we commonly associate with zombies to this day:

1.  Zombies function on the most basic of  instincts.  They have an insatiable craving for living flesh.

2.  A zombie's bite is fatal and contagious.  Victims will die, but then reanimate themselves.  Zombies generally lack memories from their previous life and will therefore attack anyone, including friends and family.

3.  Zombies are generally slow moving and weak due to their decomposing state.  Alone, they pose little threat, but in large groups, they can easily overwhelm their victims.  Zombies never tire and never sleep.  They are relentless in their single-minded need to feed. 

4.  Zombies cannot be stopped by most normal methods.  Since they are undead and feel no pain, dismemberment through bullets and blades generally have little effect.  The only hope is to either incapacitate a zombie by some extreme means, or to simply aim for the head and destroy the brain.

In addition to establishing these rules, the Living Dead series presented an inescapable aesthetic that would accompany most zombie fiction, whether it be in film or any other medium.  The decomposition, of the reanimated, the diet of zombies, and the means needed to dispose of the undead necessitated the use of gore.  Like the slasher genre, this has led to creators endlessly ramping up their attempts to top one another through more realistically/creatively decomposed zombies, scenes of increasingly disgusting zombie feasts, or ridiculous methods of zombie maiming/killing.  Even Romero found himself falling into this sort of competition with himself in later films.

 

Although reportedly inspired by Richard Matheson's book, I Am Legend, the Living Dead series also introduced the apocalyptic scenario of a societal collapse which would come to be inexorably entwined with zombie stories henceforth.  As the dead rise and their ranks subsequently swell, humanity begins to break down.  Survivors typically do not trust one another as bleak desperation and grim inevitability sets in.  Mistrust and paranoia reign and careless mistakes can be fatal errors.  Often, it is not the dead that pose the greatest threat, but the living.

The comic book and the television series The Walking Dead famously focuses just as much on the drama of the interactions between the survivors as it does on their struggle with the undead hordes.  Many would argue that the survival aspect of zombie fiction is just as appealing and fascinating as the horror of facing a reanimated corpse.

Exceptions to the Rules

While Night of the Living Dead established tropes and rules that much of zombie fiction adheres to, there are always exceptions... And they too have had an impact on the ever-evolving concept of the living dead.

Return of the Living Dead is... interesting...  for a variety of reasons (many of which we will not discuss at this time).  Return of the Living Dead is not an official sequel to Night of the Living Dead but interestingly enough does reference Romero's film, stating that it was based on true events (very meta!).  This movie however, eschews the series and bleak tone of the Living Dead series, taking a comedic, slap-stick approach to zombie horror.  Return of the Living Dead is most notable because it featured zombies that could verbalize, thereby giving us another, as yet, unlisted zombie trope:  "Brains!"  That's right, the reason we associate the groaning and moaning of zombies for "Brains!" is thanks to this film and the ever-loving Tar-Man zombie.

Zombies in video games are a natural fit because of the survival horror aspect of the genre.  First- person shooters and role-playing games put players themselves into the fray against undead assailants.  However, to break up the monotony of fighting just one type of zombie, games such as Resident Evil, Red Dead Redemption:  Undead Nightmare, and  Left 4 Dead feature a variety of classes of undead typically unseen in other mediums.   These special types of zombies may vomit acidic bile, possess the ability to rush at survivors in short bursts, or be nearly unstoppable masses with superhuman strength.  

Then there is the most recent incarnation of zombies... the so-called "fast zombie". Films such as 28 Days Later and the 2004 remake of Dawn of the Dead introduced audiences to a new breed of the undead that was able to achieve a full-on sprint as it stalked its prey (It is worth pointing out that the creatures in 28 Days Later are arguably not zombies, but rather "Infected", it is undeniable that they share much in common with zombies which is why I and others generally lump them together).  While purists will contest that sprinting zombies aren't a realistic (Wait...What?) portrayal or representation of actual (Again...What?) zombies, they are an integral part of history of the undead in pop culture, like it or not.  Personally, I'm not a fan, either, but the rise of the "fast zombie" is an important side note as this type of zombie helped usher in the current resurgence in the popularity of zombies.

Zombie Nation

Speaking of the popularity of the zombie genre, we are living in a unique time in which an appreciation for the undead is unprecedented.  At one point, such a rabid fanbase for such a gruesome subject would have been considered a subversive subculture at best, but thanks to many of the aforementioned films, video games, comic books, and TV shows, zombies in popular culture are as pervasive and inescapable as they are in their fictional universes.  The love for zombies has manifested itself in a variety of ways, including:  Zombie walks in which large crowds of people dress and act like shambling undead, zombie 5K's feature runners taking on the role of survivors and actors portraying zombies engage in a flag-football type competition, and even zombie weddings which see the bride and groom dress as reanimated corpses.  

The Walking Dead television is a phenomenon in and of itself.  I can't tell you how many conventions I've been to where actors from the show (who portrayed either survivors or zombies) are met with huge crowds of fans.  The fanbase ranges from the old to the surprisingly very young and is as devoted as those who might be to a teeny-bopper pop-star

Of course, this rise in popularity has its pitfalls.  The recent surge in demand for all things zombie has flooded the market and, inevitably, overexposure is taking its toll.  Zombie films, comics, and products which used to be quite rare, have increased in quantity, but not in quantity.  It's only a matter of time before the trend dies down...  But, of course, zombies are known for their sudden, unexpected comebacks!

Zombies on the Brain:  The Symbolism of the Undead

Erudite Zombies

It's time to get psychological and philosophical:  The great thing about monsters in general is that they are manifestations of a variety of fears.  Zombies are no exception.  The undead can be interpreted as representations of numerous real-life threats.

Zombies of the voodoo tradition reveal a fear that continues to be pervasive:  The loss of free will and the hopelessness of being enslaved as a mindless drone.  The cannibalistic tendencies of a zombie horde can be likened to rampant consumerism (This, after all, was the point of Romero's Dawn of the Dead being set in a mall) or simply the dangers of mob mentality.  The unpopular "fast zombie" is generally associated with rapid pandemic outbreaks of viral diseases (In fact, a group of scientists actually used the concept of a zombie apocalypse to help explain and understand how viruses spread within populations).

Of course, the classic lurching zombie serves as a stand-in for the basic human fear of mortality. Just as a lumbering zombie is easily escaped today, it's just a matter of time until one catches up to you and grasps you in its clutches.  Zombies, at the root of it all, force us to face our own ultimately inevitable demise.

Well...  That's depressing.

Conclusion

The living dead, as we know them today, have had a very interesting and varied history.  From the zombis of Haitian Voodoo folklore to the familiar shambling, brain-eating hordes we see on our movie and TV screens today, it is clear that zombies are destined a permanent fixture of our popular pscyche and culture.

Spine-Tingling!

I've always loved this image of Dwight Frye from "Bride of Frankenstein".

Dwight Frye is mostly remembered from his roles in Universal's horror pictures, including:  "Dracula", "Frankenstein", and the "The Invisible Man".  Each of these films featured Frye in minor, supporting roles, but he always managed to shine.  For example, in "Dracula", Frye delivered a particularly chilling and memorable performance as Renfield, the Count's (literally) bloodthirsty henchman.

Brrrr...  If that doesn't send shivers down your spine!

The Music of John Carpenter

I decided to watch John Carpenter's "The Fog" again the other night.  It's probably my favorite Carpenter film aside from "The Thing".  You know me, I'm a sucker for a moody, creepy atmosphere and a good ghost story... And "The Fog" delivers both masterfully.  I ended up watching it once more the following night and realized yet again that not only is John Carpenter a brilliant director, but also an amazing composer.

Take a moment to appreciate the main theme for "The Fog"...

The music of the "The Fog" establishes an eerie mood throughout the film perfectly.  While the main theme allows Carpenter to flex his melodic muscle, the soundtrack really shines in the more subtle moments in which just a few chords are ominously played over and over.  "The Fog Rolls In" is a track that exemplifies this simple, but effective approach to music accompanying and enhancing the images on the screen.

Interestingly enough, Carpenter once admitted that earlier cuts of "The Fog" proved to not be "scary enough".  To correct this, the unsatisfied director ultimately ended up re-editing segments and shooting additional scenes to ramp up the tension (These included one of my favorite scenes, the montage of ghostly activity quietly menacing the sleeping town shortly after campfire sequence).  Carpenter also felt that the music was all wrong and ended up scrapping the original score for the film and replacing it completely.  It's abundantly apparent that he knew best... It's difficult to imagine a better soundtrack for the film!

Not long after watching "The Fog" I found myself looking up more of Carpenter's soundtrack work...

Revisiting the "Prince of Darkness" soundtrack also demonstrates the effectiveness of a stripped-down sound.

While I had never seen the film before, there are some great moments on the "In the Mouth of Madness" soundtrack...  The confusing opening, Metallica-esque track aside (and I'm saying that as a fan of the band). It's hard to believe that this was a score by Carpenter as most of the elements we associate with his soundtrack work (like the omnipresent synthesizer) are all but absent.  Being a fan of Lovecraftian Horror, "The Old Ones Return" really caught my eye (and then my ear).  It seems like I'm going to have to track down and watch this movie!

Of course, the most famous piece of Carpenter's music will always be the theme for "Halloween".  As I have discussed before, I'm not a huge fan of slasher films ("Halloween" is widely credited as being the first of this Horror sub-genre,by the way), but the main theme sets a great mood.

Earlier this year, I was excited to find that Carpenter was planning on releasing new music not associated with a particular film. The album is appropriately titled, "Lost Themes" as any of the tracks could easily accompany one of the director's early films.  

"Lost Themes" is full of great moments that evoke a sense of nostalgia... despite not being directly associated with any of Carpenter's movies. It's a triumphant return to form as Carpenter's trademark keyboard and synthesizer work (occasionally joined by other instruments as well) once again serve to paint an atmospheric sonic landscape.

It's unfortunate that we likely won't see Carpenter behind the camera again any time soon, but it's a comfort to know the visionary artist is still interested in expressing himself through a familiar medium...  Who knows what that might eventually lead to?  In the meantime, here's hoping to a follow-up to "Lost Themes"!  Keep up the good work Mr. Carpenter!

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Bonus Track:  It's surprising to find that John Carpenter did not create the score for "The Thing".

  

The simple, but haunting main theme could easily be mistaken for a bare-bones, synthesizer-enhanced Carpenter creation.  Instead, composer Ennio Morricone was employed to compose music for the film.  Morricone said that he spent a lot of time listening to and absorbing the scores of John Carpenter's earlier films in order properly to emulate his style.  He was very successful!  So successful, in fact, that fans often joke that the score for "The Thing" is the best John Carpenter score he never wrote!  

The Art of Basil Gogos

Basil Gogos is a celebrated artist best known for his cover artwork for classic issues of "Famous Monsters of Filmland".  His signature style features saturated colors and dramatic lighting, resulting in striking and unforgettable images.

Basil Gogos