In the eighties, horror was big business again. George Romero, and his genre-bending zombie films, had been elevated to iconic levels. A few years had passed since "Dawn of the Dead." The time had come for another entry in the series. Originally envisioned as the ultimate zombie movie, budget cuts had Romero scaling back his vision. "Day of the Dead" was released in 1985, the same year as "Return of the Living Dead" and "Re-Animator." In comparison, the down-beat, slow-paced "Day" disappointed fans. For years, the film was considering the weakest entry in the trilogy. Time, however, was on its side. Now, many people list "Day of the Dead" as their favorite of Romero's original trilogy, including the filmmaker himself.
"Night" showed the beginning of the zombie apocalypse. "Dawn" had society on the verge of collapse. By the time of "Day," the dead outnumber the living. A small group of scientists and soldiers hole up in an abandoned missile silo. The scientists, led by fearless Sarah and eccentric Dr. Logan, attempt to study the living dead. The soldiers, meanwhile, want to exterminate the zombies and lord over what remains of humanity. Whatever shred of order remains breaks down in time and, soon enough, the dead rule over all.
As the series evolved, one prevailing theme rose above: Humanity's ultimate downfall won't be because of the undead but because of mankind's inability to communicate with each other. This idea comes to the forefront in "Day." The inhabitants of the silo are a powder keg, waiting to go off. The soldiers are belligerent, sexist, and racist. If they worked with the scientists, the human race might have a chance to survive. Instead, military leader Rhodes and his even-worse men use the situation as an opportunity to boss the others around. Even before zombies invade the base, guns are pulled. Another reason people were disappointed by "Day" initially is because it doesn't appear to be taking a sharp look at any social issue of the time. However, through the film's characters, it becomes clear that Romero is criticizing the pro-military attitude of Reagan-era America. Military aggression is painted as little more then a grand pissing contest, allowing the film to take aim at Cold War escalation.
The sole element of "Day" that everyone likes is its treatment of zombies. The film delves into what makes the undead tick. Dr. Logan dissects zombies, cutting out their organs. The film gives a fascinating glimpse into the inner workings of the zombies' minds. As future entries in the protracted trilogy would make clear, Romero had always planned for the zombies to evolve over time. Enter Bub! While the other zombies Dr. Logan captures are mindless shamblers, Bub is the Zombie with a Soul. He mumbles words. He studies relics from his human life. His mind is visibly blown when he is introduced to classical music. Bub has emotions too, mourning for his father figure and even taking revenge. Many of the characters in "Day" are prickly, hard-to-relate-with. Everyone loves Bub.
On first viewing, "Day" can come off as somewhat abrasive. Many of the cast are intentionally obnoxious. Captain Rhodes is an authoritative dirtbag, willing to gun people down because they disagree with him. His primary henchman, Steel and Rickles, make lewd comments and release high-pitched laughs. Private Salazar is in such a constant, high-strung state that he becomes impossible to relate too. Everyone swears and screams. It's not the fault of the cast. Joe Pilato and the others certainly give it their all. Characters this broad and aggravating don't make "Day of the Dead" the easiest watch.
The other cast members are easier to relate too. Lori Cardille's Sarah is steely and strong. Richard Liberty gives a memorable performance as the unhinged Dr. Logan. Crazy though Dr. Logan might be, his enthusiasm makes him fun to watch. Jarlath Conroy provides much needed levity as Bill, the alcoholic operator. Terry Alexander as John, the Caribbean pilot with a thick accent, gives a solid performance. The heroes provide a pocket of sanity in the world of intense emotion that is "Day of the Dead." Of interest to most horror fans is the gore. "Night" invented the splatter flick. "Dawn" upped the ante, creating the zombie gorefest. In the wake of super-explicit Italian rip-offs, George had to push the limit. "Day" features the most graphic zombie violence up to this point. While body parts are bitten throughout, the film really cuts loose in its last act. A zombie with a split abdomen sits up, his guts spilling out. An infected arm is cut off and the wound cauterized. A man's neck is tore apart, his head pulled loose, screaming all the while. Another has his face tore away. Rhodes gets the nastiest death of all, literally torn in two, his intestines pouring out. The scenes of zombies gorging themselves are stomach-churning even to this hardened horror fan. Even the undead are dispatched in interesting ways, such as one that has his dead bisected by a shovel, eyes twitching. The zombie make-up has improved considerably. The blue face paint of "Dawn" gave way to detailed appliances. Continuing another trend started in "Dawn," the zombies have personality too. We see a zombie football player, zombie clown, a ballerina, a bride, a soldier, and more.
It's been a long road for "Day of the Dead" from disappointment to classic. It's now spoke of in the same quality as the first two of Romero's undead classics. Each one of the original trilogy works in its own way. I happen to prefer the first two over "Day" but you can't say Romero's third undead film isn't as personal or inspiring.
"Night" showed the beginning of the zombie apocalypse. "Dawn" had society on the verge of collapse. By the time of "Day," the dead outnumber the living. A small group of scientists and soldiers hole up in an abandoned missile silo. The scientists, led by fearless Sarah and eccentric Dr. Logan, attempt to study the living dead. The soldiers, meanwhile, want to exterminate the zombies and lord over what remains of humanity. Whatever shred of order remains breaks down in time and, soon enough, the dead rule over all.
As the series evolved, one prevailing theme rose above: Humanity's ultimate downfall won't be because of the undead but because of mankind's inability to communicate with each other. This idea comes to the forefront in "Day." The inhabitants of the silo are a powder keg, waiting to go off. The soldiers are belligerent, sexist, and racist. If they worked with the scientists, the human race might have a chance to survive. Instead, military leader Rhodes and his even-worse men use the situation as an opportunity to boss the others around. Even before zombies invade the base, guns are pulled. Another reason people were disappointed by "Day" initially is because it doesn't appear to be taking a sharp look at any social issue of the time. However, through the film's characters, it becomes clear that Romero is criticizing the pro-military attitude of Reagan-era America. Military aggression is painted as little more then a grand pissing contest, allowing the film to take aim at Cold War escalation.
The sole element of "Day" that everyone likes is its treatment of zombies. The film delves into what makes the undead tick. Dr. Logan dissects zombies, cutting out their organs. The film gives a fascinating glimpse into the inner workings of the zombies' minds. As future entries in the protracted trilogy would make clear, Romero had always planned for the zombies to evolve over time. Enter Bub! While the other zombies Dr. Logan captures are mindless shamblers, Bub is the Zombie with a Soul. He mumbles words. He studies relics from his human life. His mind is visibly blown when he is introduced to classical music. Bub has emotions too, mourning for his father figure and even taking revenge. Many of the characters in "Day" are prickly, hard-to-relate-with. Everyone loves Bub.
On first viewing, "Day" can come off as somewhat abrasive. Many of the cast are intentionally obnoxious. Captain Rhodes is an authoritative dirtbag, willing to gun people down because they disagree with him. His primary henchman, Steel and Rickles, make lewd comments and release high-pitched laughs. Private Salazar is in such a constant, high-strung state that he becomes impossible to relate too. Everyone swears and screams. It's not the fault of the cast. Joe Pilato and the others certainly give it their all. Characters this broad and aggravating don't make "Day of the Dead" the easiest watch.
The other cast members are easier to relate too. Lori Cardille's Sarah is steely and strong. Richard Liberty gives a memorable performance as the unhinged Dr. Logan. Crazy though Dr. Logan might be, his enthusiasm makes him fun to watch. Jarlath Conroy provides much needed levity as Bill, the alcoholic operator. Terry Alexander as John, the Caribbean pilot with a thick accent, gives a solid performance. The heroes provide a pocket of sanity in the world of intense emotion that is "Day of the Dead." Of interest to most horror fans is the gore. "Night" invented the splatter flick. "Dawn" upped the ante, creating the zombie gorefest. In the wake of super-explicit Italian rip-offs, George had to push the limit. "Day" features the most graphic zombie violence up to this point. While body parts are bitten throughout, the film really cuts loose in its last act. A zombie with a split abdomen sits up, his guts spilling out. An infected arm is cut off and the wound cauterized. A man's neck is tore apart, his head pulled loose, screaming all the while. Another has his face tore away. Rhodes gets the nastiest death of all, literally torn in two, his intestines pouring out. The scenes of zombies gorging themselves are stomach-churning even to this hardened horror fan. Even the undead are dispatched in interesting ways, such as one that has his dead bisected by a shovel, eyes twitching. The zombie make-up has improved considerably. The blue face paint of "Dawn" gave way to detailed appliances. Continuing another trend started in "Dawn," the zombies have personality too. We see a zombie football player, zombie clown, a ballerina, a bride, a soldier, and more.
It's been a long road for "Day of the Dead" from disappointment to classic. It's now spoke of in the same quality as the first two of Romero's undead classics. Each one of the original trilogy works in its own way. I happen to prefer the first two over "Day" but you can't say Romero's third undead film isn't as personal or inspiring.