The Zombie Mall Massacre: Romero’s Masterpiece Revealed

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#3 in my ranking of George A. Romero’s filmography.

George Romero’s most renowned work, “Dawn of the Dead“, was the film that helped him escape financial trouble and achieve his first significant success he could truly be a part of (his earlier accomplishments, particularly “Night of the Living Dead“, were hindered by distribution agreements that left him empty-handed). Like its predecessor, “Dawn of the Dead” has themes that viewers often impose upon it, which the movie only subtly supports (this is more justifiable in this film compared to the previous one, but it’s still minimal at best). Primarily, the film is a horror movie. Its main focus is on delivering chilling thrills, and it excels at that. However, it offers little else beyond that horror element.

In this story, society is falling apart, and a news reporter named Fran (Gaylen Ross) documents the chaos on television. Most people are shouting at each other, providing brief insights into the functioning of the zombies in the movie. Simultaneously, police officers Peter (Ken Foree) and Roger (Scott Reiniger) are dispatched to a public housing project as per an order from the President banning private ownership during the crisis. The mission turns violent and harrowing, with both innocents and the undead losing their lives, leaving them disillusioned about participating further. Roger has a friend, Stephen (David Emge), who is a helicopter pilot, and coincidentally, he’s also Fran’s boyfriend. Eventually, all four of them escape the urban area in the helicopter, eventually finding refuge at a well-known mall where they plan to hide out.

I found myself deeply engrossed by the film’s tale, which follows a mission-driven narrative. The protagonists are presented with a succession of challenges: escaping the city, finding a secure hideout, and ultimately fortifying it for their safety. Interestingly, this forms the crux of the first three quarters of the movie. What makes it captivating is its multiple layers.

Firstly, the characters are distinctively portrayed without any elaborate backstory. Each one stands out vividly on screen. Roger, for instance, is impulsive and hot-tempered. Stephen, despite lacking experience with violence or firearms, excels at navigating maps with ease. Peter assumes a leadership role. Fran, a strong female character, insists on having a say in decisions affecting her, demonstrates proficiency with guns, and even learns to fly the helicopter. Yet, she’s also pregnant with Stephen’s child.

In essence, the movie works due to several factors: the clarity of its characters, the intriguing plotline, and the compelling performances that breathe life into these well-drawn individuals.

What truly keeps everything moving is the straightforwardness concerning the purpose (locating a secure haven, securing it) along with the methods being equally apparent (eliminating zombies within, barricading doors, obstructing doors using nearby vehicles). The characters are well-developed, making them both likable and desirable for survival. They’re multifaceted enough to be engaging. They have a goal, and they dedicate most of the story to achieving it. It’s incredibly gratifying to observe. However, once they complete their mission, they’re left without anything further to engage in.

This conversation seems to delve into the supposed theme of anti-consumerism, but upon closer inspection, it appears that this interpretation might be off the mark. The dialogue in question consists of three exchanges, two of which are repetitive and the third occurs after they’ve established their hideout for a while. In the initial conversations, the characters discuss why zombies continue to congregate at the mall, attributing it to habit. Later in the plot, this ‘habit’ becomes crucial when a newly-created zombie discovers the humans’ refuge, and it makes me question whether these lines were intended to explain the zombie’s actions or to comment on consumerism. Interestingly enough, it seems that consumerism might actually contribute to the survival of these characters, rather than being detrimental as suggested by the theme of anti-consumerism.

This film teaches us how to interpret its message. Four individuals stumble upon a mall, which serves as a sanctuary during the zombie apocalypse. Inside, they find everything needed for survival – weapons, food, and more. Interestingly, this enclosed space was initially off-limits according to the government (as shown in the opening scenes at the housing project). As the story unfolds, it seems there’s a critique emerging against consumerism, although it’s not entirely clear-cut. For instance, one character, Fran, questions their new lifestyle, suggesting they may have lost their purpose or become empty consumers – a notion that implies anti-consumerism, yet doesn’t fully embrace it either.

In the closing scenes of the movie, there’s an extended, action-packed sequence (with some comical elements) where the remaining characters are discovered by a group of marauding bandits who break in to loot what they can, unintentionally letting more zombies in. This event marks another collapse, and it’s expertly portrayed, transitioning between different tones. Despite the danger always being present from the gang, the representation of the zombies has evolved to the point where they seem manageable and no longer a significant threat. Remarkably, this is similar to how Romero handled the trucks and Roger earlier in the film – overconfidence leads to consequences. So, while each zombie may be slow and lacking intelligence, when they group together, they pose a real danger.

This production delivers on the zombie genre, and the characters are engaging. The narrative structure is compelling as it follows a mission-driven plot. The handling of threats is well executed. However, I find it somewhat lacking in depth and thematic consistency. It may not reach Romero’s iconic masterpiece, but it’s a solid contribution to zombie cinema from the pioneer who set the stage a decade prior.

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2025-03-05 00:15