"Fright of the Living Dead"

The Skeletal Spotlight shines this time on:
The "Night of the Living Dead" FEAR Poster

FEAR that deadliest of all emotions clutching at your heart the... Night of the Living Dead.

Lack of punctuation aside, the skull-oriented "Fear" poster, with the focus on the fright factor, is one of the more unusual promotional efforts done for the movie. While most movies of the time were merely hyped as scary, not delivering on the full extent of the promise, "Night" was one that the posters and hype were unable to communicate the true horrors fully.

There's little that can be said about "Night" that hasn't been said already, and by better writers than me. What I can do is simply relate what it means to me, which is something unique to each person. If you haven't seen it yet, (is there anyone out there that hasn't?) then this post contains spoilers, and you might want to go watch it first then come back. It's required viewing for any horror fan.

While watching the movie again last night (I've lost count of how many times I've seen it), I was struck by how that poster described one scene in the movie particularly. If there was any character most affected by the terror, it was poor Barbara. Already skittish about being in the cemetery at the start, the teasing by her brother didn't help things. Then when the attacks begin, her fragile psyche began to fracture, the fear pounding at her mental defenses like the zombies pounding at the doors. As she takes refuge in the farmhouse, her mind also begins to take refuge in the deeper basement levels of shocked isolation. Unable to face the reality of the situation, she begins a rapid descent into a withdrawn catatonia and state of shock.

Actress Judith O'Dea portrayed a woman whose fear eats away at her before the living dead ever get a chance. We see her begin to fall apart as events beyond her understanding close in around her, going from hysterical denial to simply sitting and staring into space, disconnected from the situation and people around her. Only at the end, as she is grabbed by her reanimated brother and dragged out into the hungry crowd of dead clutching hands, does she seem to come to her senses and make an effort to fight back. Sadly, it is too late, as she is overcome and devoured alive.

I made this series of screen captures below to illustrate the emotional meltdown, from one short scene as Barbara relates to Ben how she and Johnny were attacked and her brother killed. The outburst ends with her unreasonable demand that they go find him, and when Ben tells her that her brother is dead, she slaps him. One quick jab by Ben to the jaw later, Barbara faints, overcome by the emotion, and retreats from reality for the rest of the film.

Although there is an impulse to laugh at the display and consider it overacting by Judith and histronics by Barbara, within the context of the film it plays as a pathetic and pitiable expression of terror too terrible to handle. It seems to indicate a psychological problem brought to the surface and exacerbated by the end of normalcy.

Now, that's Acting, folks! A whole movie's worth of emoting (possibly several), compressed into one short scene about a minute long. Under different circumstances she might have been given the "Shatner Award For Acting Excellence" statue. As it is, we are left hoping we never come to such an emotionally-devasting place where we fall apart in like manner. But if you do laugh at least once while watching it, I can't really blame you. Watching a nervous breakdown in progress is funny until it happens to someone you know.

Oh, and for a change of gears, from fear to fun, here is the next installment of strips from "Garfield In Disguise."

To be continued!

Burial Ground

The Skeletal Spotlight shines this time on:
The "Burial Ground" poster art
(click image for hi-rez version)

You know you'd buy a ticket to see this movie.

The poster for 1981's "Burial Ground" is a classic bit of zombie movie artwork where once again the promotional effort is better than the movie... in this case, a whole lot better. That is one cool poster!

"Wa-wa-wait! I'll shave it off if you don't like it!"

But that's not to say the movie is completely worthless... not by a long shot. It has it's merits and I still enjoy putting it on occasionally, which is more than can be said for some others. I'd put it slightly below "Hell of the Living Dead" and above "Nightmare City." The proximity it shares with these other titles should give you some inkling of the quality; it resides firmly in that murky swamp of "so bad it's good" territory. In fact, the things that make this movie bad are the very things that make it fun to watch.

"WHAT is that I'm feeling in my underwear?"

A professor researching a burial ground of the ancient Etruscans in Italy makes a discovery of some kind that amazes him. But the ascot-wearing Etruscans buried there want to keep their secrets, so they arise and begin killing and eating all they encounter. Luckily for them, several vacationing couples have come to the Professor's castle-like mansion (apparently he needed some extra money to keep up his research) and they are more interested in getting down than getting out alive. Below are some screen captures I made to share with you. The living characters aren't interesting enough for you to care when they die; their main function is to become zombie chow, so the zombies are my main focus. Oh, and "little" Michael... we certainly can't forget Michael. Who could, having seen him? He's creepier than the zombies, and all he wears is a bad wig.

"Mother, may I have some warm milk before going to bed?"

Michael, a strange man-child, has a thing for his mother, which is understandable; lots of young boys have lusted after their hottie mothers. But she encourages it; when he shows up in the room where she and her boyfriend are giving the bedsprings a workout, she leaps up out of the bed naked, sauntering across the room to grab a sheet and halfway drape herself with it. When all she had to do was cover up a little more while in bed! Yep, the stunted kid is messed up physically, but his emotional problems stem from her unwillingness to let him grow up. Her own neediness and insecurity cause him to be confused about his budding sexuality.

Or, he could just be a horny midget with a slutty mother.

"Oh, man, a maggot just crawled in my mouth! Yuuuk!"

The ease with which the dead are accidentally raised by the hirsute, hapless professor studying the Etruscan tombs seems to indicate that some cemeteries should display "Quiet: Do Not Disturb The Dead!" signs. At least in most of these films some explanation is attempted; Trioxin gas, space radiation, black-magic voodoo, Egyptian curses, biological viruses, etc., but here they just seem to come out because he was being a little too noisy... or nosy, perhaps.

"Boo-gah boo-gah boo-gah!"

The "make-up" of the zombies seems to be composed of slathered-on plaster, into which assorted teeth, hair, eyeballs and live worms are implanted. Then as the "actor" goes through his paces, the dried mud-like layers crack, to reveal red stuff below. Although the effect could work to portray dried-up corpses to good effect, the overdone, hand-molded result hardly resembles human skeletal anatomy at all. Blackened noses poke through the caked mud and blackened lips show plainly behind "teeth," all too obvious in the lingering close-ups. Other zombies are fresh-faced youth with only a little make-up, though, belying the idea that they have all been dead for centuries. However, the makeup is certainly better then the oatmeal-wearing things in "Nightmare City," which seems to indicate that they all died while eating breakfast and keeled over face first into their bowl of Quaker Oats.

His mother warned him that sunbathing without enough tanning lotion would make his skin peel.

The director makes an attempt to mimic Lucio Fulci's Zombie, both with the inclusion of live maggots and nightcrawlers on the makeup, and even the wood-in-the-eyeball gag, only this time it's a glass shard. But the silliness of the living, and the intelligence of the dead, take away any tension and replace it with amusement. The tool-using zombies are so smart that one expects them to soon figure out how to hotwire one of the cars and ram the door with it. The only reason they don't have to is the idiocy of the people inside, who all too soon put themselves on the menu.

Somehow I don't think this fellow looked much better when he was alive.

"Miss! Can you get me out of this mudpack? It's drying out and hurting my skin."

These Etruscans really knew the secret to fertilizing their flowers!

Refreshed from his little dirt nap in a planter, this zombie has an appetite for mayhem.

"Should we get in the car and drive away?"
"No, they'll be expecting us to do that!"

"What... is there something on my face?"

"I'm too sexy for my ascot."

"By the power of the pitchfork, I command you!"

"Oh, no, you did not just pull a rake on me!"

"Aw, come on, you're making it so easy it's not even fun any more!"

Considering the amount of live worms these guys carry around, they'd be very handy to take fishing.

One death that will have you chuckling rather than upchucking is when a maid sticks her head out of a window. One of the zombies below nails her hand to the window sill with a thrown spike, while another slowly reaches up with a scythe. Putting it above her head behind her neck, he very slo-o-o-wly brings it down and severs her head as smoothly and easily as if her neck were made of warm liverwurst. Yes, super-strong and intelligent. The people never had a chance.

This fan completely lost her head over Episode 3: "The Revenge of the Scythe."

"Is this bugging you? Is this bugging you?"

Near the end one of the female characters is surounded by the zombies who advance slowly with hands outstreached. Apparently the are just trying to freak her out, as once they are inches away they all just hold the position while she screams. Must have been waiting for the director to yell "cut!" but he probably was off behind the set wall quaffing down a pint or feeling up the script-girl.

Whoever this mysterious "Black Spider" is, I wouldn't trust the prophetic writings of someone so bad at spelling.

Here's a good review of the film from someone better at that sort of thing that I am... AllThings Zombie.

"Did they just call for lunch? I can't hear a thing through all this junk!"

I'm not convinced this kid ever actually became a zombie. He was just acting normally.

Who these hooded guys are in the church next door is never explained. Sheesh, this late in the movie and you want explanations? They're just zombies, okay?

Here's a YouTube video of the trailer for your enjoyment!

Return of the Living Dead 1985 article

The Skeletal Spotlight shines this time on:

The Return of the Living Dead

Click to get a nice big image of this poster art.


The French poster for ROTLD, arguably better than the American.

Back from the dead and ready to party with a few friends.

The first issue of Forry Ackerman's new publication "Monster Land" which came out in February of 1985, contained an article on the then-upcoming movie "Return of the Living Dead." Poor old Forry, you remember, had been ousted from his position as editor of FM by the Warren company and this led to their parting. Forry was able to start up another virtual FM called Monster Land, with the "Monster" in the same familiar type and size as Famous Monsters, and this along with a painting of the Ackermonster, let fans know he was back in business... at least for a little while.

Below is the inside cover text which trumpeted the story of his return to publishing. Although not the focus of today's entry, I thought it still might be interesting to some that never saw it. Interesting phrasing of the copy, both for what it said in between the lines about the restrictions placed on him by Warren, as well as the "classic monsters" magazines versus the modern Fangoria-type mags. It was a sad reality that as his FM audience grew up, the younger readers coming to the magazine stands were looking for exactly what Fangoria was offering. And the older classic-monster fans who were still buying such publications were growing fewer. Even I fell into that category. What amused and amazed me as a kid no longer held the attraction, when Freddy Kruger and others were dripping blood and grue from the covers of Fango.

Another hi-rez artwork image for ya.

And now, for our feature presention... the ROTLD article. I remember that Zombie Summer... when so many classic Zombie and horror flicks came out. Aging fans still talk about it in hushed tones... it was like dying and going to zombie heaven... which I guess for a zombie is finding a schoolbus full of teens. And like they would have chowed down on such a gut-filled feast, we chowed down on the moist and meaty movies of 1985.

Tarman was happy to see the fresh-faced, "with-it" teens arrive to bring some life to the party.

Seeing ROTLD for the first time was an electrifying experience. Totally different than what was expected, it crackled with energy, humor and atmosphere. All we could do was sit back and be smacked in the face with one surprise after another, with the gore effects bringing screams to the audience in between the laughs. If zombie films are exciting today you can thank this movie for setting the tone for hyper-active undead action mixed with dark humor.

Enjoy the article below from 23 years ago, and relive the excitement of reading this before you saw the movie in the theater... or, for you young whippersnappers, try to imagine it. The article got me excited for it, but no-one was prepared for it when they saw it. I first watched it with a group of friends at a midnight showing, and I took my fabric pullover skull mask in my pocket. During the scene of the zombies coming out of the graves, I put it on and sat there watching the movie. In front of us were three already-scared teenage African-American girls, and when one looked back and saw me, she screamed, then the other two screamed, and they freaked. By the time the summoned usher came around with his flashlight, I had pocketed the mask and was wearing my best innocent face. Mean? Possibly. Fun? Oh, yeah...

Frank indulges in a bit of humorous foreshadowing.

It's interesting how designer Bill Stout refers to a "spore" being responsible for the return of the rotten ones, when the script revolves around the 2-4-5-Trioxin. So this interview must have been conducted early in the short production process. Also some of the designs and efforts he made to show various time periods were never seen in the film. Although a few make-ups of decaying zombies made it onto film, the majority of corpses in the crowd scenes just are regular people, albeit muddy, with very few make-up effects or even masks in view. The sudden change in make-up artists before the job was finished probably accounts for some of that, as time was running out to finish what was a big job. But the individuals we saw, such as Tarman, the woman half-corpse, and a few others, carried the film in terms of startling creations, the likes of which we had never seen before.