A team consisting of a physicist, his wife, a young female psychic and the only survivor of the previous visit are sent to the notorious Hell House to prove/disprove survival after death. ... See full summary »
The radiation from a fallen satellite might have caused the recently deceased to rise from the grave and seek the living to use as food. This is the situation that a group of people penned up in an old farmhouse must deal with. Written by
Todd A. Bobenrieth <TAB146@PSUVM.EDU>
The character of Ben was originally written as an angry person. When Duane Jones was given the role, he expressed concern that the character be rewritten to remove some of the anger - such as the scene where Ben hits Barbara - afraid of how it would be widely perceived in the United States at the time to see a black man acting in this way. The nation was still plagued with high racial tensions during the late sixties; the film was released to theaters shortly after the assassination of Martin Luther King. Nonetheless, George A. Romero and most of the rest of the predominantly white crew decided against it, thinking they were being "hip" by not changing it. Years later, Romero lamented that he had not taken Jones' concerns more into consideration, and thought that he was probably correct. He's expressed that he wishes he could speak with the late Jones again, asking him how he felt about the film's legendary status, and believes Jones would just say "Who knew?" and laugh. See more »
While Harry and Ben are fighting for the rifle, the door to the main room, near the basement door, opens and shuts between cuts. See more »
[Noticing nobody in the cemetary]
Why isn't no one around?
Well, it's late. You could of gotten up earlier.
Well, look, I already lost an hour of sleep to the time change.
I think you complain just to hear yourself talk!
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The credits play over still frames of the hunters dragging Ben out of the house with meat hooks. After the credits, there's a short scene of the hunters setting a pile of zombies on fire. See more »
Romero is sublime. His ability to take a small budget and turn it into a stratosphericly giant film is unparalleled. This is one of the best apocalypse films ever (along with the rest of the trilogy). The zombies represent a slow moving enemy. It is easy to escape them. You have only to fear your own mistakes. On these the zombies will capitalize. One of the best aspects of this film is the lead character. Romero has always presented intelligent non-stereotypical black characters in his films. This film was made in 1968 while civil rights tensions were high, and the most "in control" character in the whole movie is a black man. If you can get past a couple of cheesy supporting performances, this is one of the best horror films ever.
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