Romero struggled to define himself outside the genre he created and become inextricably identified with: Fans swear by the modern vampire tale Martin, which Romero often named as his personal favorite, and Knightriders, about a troupe of motorcycle-riding Medieval reenactors.”įor Deadline, Dino-Ray Ramos collects tributes tweeted by Stephen King, Eric Roth, James Gunn, Max Landis, and more. military to, in effect, act as an occupying army within their own country. “With Vietnam-era disillusion at its peak, 1973’s The Crazies followed protestors’ urging to bring the war home, with a madness-causing virus prompting the U.S. Updates: “ Night’s sequel, 1978’s Dawn of the Dead, took on a more comic and self-aware edge, with zombies wandering through a besieged shopping mall like mindless consumers,” notes Slate. In 2008, when Night of the Living Dead turned forty, PopMatters ran a series of “six articles that discuss issues related to race conflict and phallic control.” ![]() There’s a palpable tension among the non-zombified heroes, a growing realization that doom is inevitable and the zombies will likely prevail in the end.” Sure, they’re lurchy at best, and relatively easy to outrun if you just walk at a slow pace in the other direction, but something about their unrelenting ‘can do’ determination and flash mob–style team efforts makes them legitimately terrifying. But whatever you think inspired them, Romero’s hippie-era zombies are undeniably the stuff of nightmares. ![]() “They symbolize Cold War paranoia and homosexual repression and mainstream tensions about the counterculture and Vietnam War anxiety and a bunch of other stuff too, depending on who you ask. “The zombies aren’t just reanimated corpses who can’t resist bum-rushing a Pennsylvania farmhouse,” wrote Eric Spitznagel in a profile of Romero for Vanity Fair in 2010. He followed that by writing and directing Day of the Dead (1985), Land of the Dead (2005), Diary of the Dead (2007) and Survival of the Dead (2009), a decomposing body of work that earned him the nickname Father of the Zombie Film.” “Romero's 1978 sequel Dawn of the Dead was made for $1.5 million and grossed $55 million. Romero “put out five other zombie movies after a copyright blunder cost him millions of dollars in profits on his wildly popular first one,” notes Mike Barnes in the Hollywood Reporter. “Influenced by Richard Matheson’s novel I Am Legend, the black and white film about a group of people trapped in a Pennsylvania farmhouse who fall prey to a horde of the undead was said to be a critique of capitalism during the counter-culture era.” ![]() “Made in Pittsburgh on a budget of $114,000, Night of the Living Dead made $30 million and became a cult classic,” writes Variety’s Pat Saperstein. Romero died while listening to the score of one his favorite films, 1952’s The Quiet Man, with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side, the family said.” “Romero died Sunday in his sleep following a ‘brief but aggressive battle with lung cancer,’ according to a statement to The Times provided by his longtime producing partner, Peter Grunwald. ![]() Romero, father of the modern movie zombie and creator of the groundbreaking Night of the Living Dead franchise, has died at 77,” reports Tre’vell Anderson for the Los Angeles Times.
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