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NYT Film Critic on "Night of the Living Dead:" "The Casual, Unapologetic and Ultimately Self-Destructive Violence of White Supremacy Is the True and Enduring Horror of American Life."
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From the New York Times:

Screenshot 2017-07-17 16.14.38

In George Romero’s Zombie Films, the Living Were a Horror Show, Too
By A. O. SCOTT and JASON ZINOMAN JULY 17, 2017

The director George A. Romero, whose six zombie movies represent a towering landmark of horror, died on Sunday of lung cancer. Our critics Jason Zinoman and A.O. Scott dig into his legacy and influence.

JASON ZINOMAN George Romero will always be known for turning hordes of dead people into a new kind of mainstream monster, but what made him a revolutionary artist is that he didn’t let the living off the hook. Sometimes, he even seemed to like them less than his flesh-eating zombies. “Night of the Living Dead,” his 1968 debut that initiated the modern horror genre, has one of the movies’ great spooky opening scenes; the shadowy sequence when the girl chomps on her dad still gives me the chills. But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones. No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.

A. O. SCOTT I’m glad you mentioned “Get Out,” because that movie and some other very recent horror films — like Trey Edward Shults’s lean, cheap and super-scary “It Comes at Night” — highlight both the influence, and the prescience, of “Night of the Living Dead.” A few years ago, when I did a Critics’ Pick video on “Night,” I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed. Now, of course, the prophecy seems all the more chilling. The casual, unapologetic and ultimately self-destructive violence of white supremacy is the true and enduring horror of American life.

Well-timed, Mr. Scott, well-timed, what with the breaking news of the White Male Law Enforcement Power Structure gunning down an immigrant woman in white bread Minnesota, just like last year that Aryan cop shot Philando Castile in Minnesota, which caused the White Supremacist president to incite the Alt-Right to shoot all those black BLM protestors in Dallas and Baton Rouge. (I may be getting a few of the minor factual details wrong here, but The Narrative feels right.)

 
    []
  1. In addition to New York Stupid, there should be a term for process by which those so afflicted manage to work in their favorite gumdrops – like Emma Lazarus and white supremacy – to any issue. ANY issue. Moralopolizing? Circumstantial pomposity?

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  2. hhsiii says:

    But Obama wasn’t destroyed.

    And Romero is an ethnic white who has an African American hero nearly 50 years ago. No big deal. No one batted an eye.

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    • Replies: @Anonymous
    "I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed."

    I suspect the Mafia these days probably find something else besides the Grey Lady to wrap their Sicilian Messages in. With this much idiocy, they'd be embarrassed that someone might think they actually read it.

  3. As deeply as they hate white people, am I right to assume A.O. Scott and Jason Zinoman come from Muslim backgrounds?

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    • Replies: @anonymous-antimarxist

    am I right to assume A.O. Scott and Jason Zinoman come from Muslim backgrounds?

     

    Nope!!!

    Guess Again!!!
    Anthony Oliver Scott
    https://en.wikipedia.org/wiki/A._O._Scott

    He is a great nephew of the married acting couple Eli Wallach and Anne Jackson (his maternal grandfather was Eli's brother).[3] Scott is Jewish on his mother's side.[4]
     
    Mother
    https://en.wikipedia.org/wiki/Joan_Wallach_Scott

    She was born Joan Wallach in Brooklyn, New York, the daughter of Lottie (née Tannenbaum) and Sam Wallach, high school teachers.[4][5] Her family was Jewish, and her father was born in Dolina, Poland.[6] During the Red Scare, her father, who had been active in various left-wing causes, was fired for refusing to cooperate with an investigation into activities of the American Communist Party, an event that helped to seal his daughter's sympathy with the left.[7] She graduated from Brandeis in 1962 and received her PhD from the University of Wisconsin–Madison in 1969.
     
    DING DING DING --- 3rd Generation Red Diaper Baby!!!

    Did you honestly expect anything less???
  4. We should also remember that this cr-p has an opportunity cost. We will never read an insightful and appropriate obit for Romero.

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  5. Steve Sailer should lead a boycott against Hollywood to help defund the left.

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  6. AM says:

    I really do hope that all their wildest dreams come true.

    My childhood friend’s dad used to say, when my friend complained facilely, that he would give him something to cry about if he didn’t get a grip. I feel more that way everyday. “White supremacy is the true and enduring horror of American life.” Buddy, just you wait. The Saxon has not yet begun to hate. But his patient indulgence has gone stone cold, so it won’t be long, now.

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  7. I get the feeling that whoever wrote this has never actually watched a zombie film.

    I had a friend who talked about how Night of the Living Dead was the first movie that explored the idea that a black man with a shotgun could actually be a good thing.

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  8. bgates says:

    The social commentary on racism some have seen in this film was never intended (an African-American man holing up in a house with a white woman, a posse of whites shooting a black man in the head without first checking to see if he was a zombie). According to the filmmakers, Duane Jones was simply the best actor for the part of Ben.

    btw, when did Obama get destroyed?
    for that matter, when was he competent?

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  9. syonredux says:

    But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones. No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.

    Of course, Romero always claimed that the script was not written with a Black actor in mind.Duane Jones simply had the best audition…..

    I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies)

    Actually, the Black guy ends up surviving the longest by using the White guy’s plan….

    Harry demands that everyone hide in the cellar, but Ben [the Black guy] deems it a “deathtrap” and continues upstairs, to barricade the house with Tom’s help.

    As the zombies overrun the house, Ben fights off Karen and seals himself inside the cellar, where Harry and Helen are reanimating, and he is forced to shoot them.

    https://en.wikipedia.org/wiki/Night_of_the_Living_Dead#Plot

    and is destroyed.

    Ah, I remember the heady days when White Liberals had fantasies about Obama (too good, too pure for this cis-lunar world) dying at the hands of redneck racists…..

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    • Replies: @Autochthon
    These kinds of idiots always impute their daffy hang-ups to art, even when the artist himself is standing beside them screaming "That's not true; that wasn't what I did, what I meant, or how it happened. I'm right here; I can hear you!" All the while the bloviator steps in front of the artists and increases the volume of his tirade.

    It happened with Romero and race, Tolkien and nuclear power, Dick and drugs, Carroll and pedophilia, Heinlein and religion, Camus and colonialism, and on and on. Projection is tiresome, hence artistic and literary criticism is by and large garbage – our humble host excluded, of course; and that's not just toadying; he does something a bit different and more useful, typically focusing on technical execution rather than imagined subliminal messages. To write that The Lamb Lies Down on Broadway contains evocative lyrics, challenging melodic structures, and irregular time signatures that make it worth listening to is indisputable and noteworthy, it is useful criticism that guides a reader's decisions about his budget of time and money for music with an informed judgement; to drone on about one's pet theories regarding the symbolism of Rael's adventures probably less so...).

    Those who can, do; those who cannot, teach; those who can't even, critique.
    , @David
    Yesterday we got uber-woke and today cis-lunar. Thanks.
    , @Anon
    Actually, the Black guy ends up surviving the longest by using the White guy’s plan…

    It's funny how Archie and Zaius were actually right.

    Both POTA and NOTLD toy with identity-morality. Nobility of Victimhood depends on context. Taylor is the victim who gains our sympathy in ape world, but in ESCAPE, we feel for the apes even though we know that that Callahan-Buckley is right.

    Interesting that Zaius invokes religion to denounce humans whereas Callahan-Buckley invokes science to warn of apes. Both fail because of soft 'swedish' hearts.

    https://www.youtube.com/watch?v=YuytpQT6gW4

    Also, POTA movies hint at how 'progressive' and 'egalitarian' politics is actually driven by admiration for superiority. The chimps would never have cared about Taylor if he were a dumb inferior human like the rest. The thing is he proved he's not only smart but even smarter and more resourceful than apes.

    And in CONQUEST, Caesar proves himself smarter and more cunning than humans and pulls off a revolution with a bunch of banana goons.

    Progs love the Great Man or Great People. They are just looking for new messiahs.

    Homos are extra-creative and Negroes are extra-athletic, and it is those superior qualities that have made them the darlings of progs who really don't care about most peoples and their problems.
    I mean who cares about Uighurs?

  10. Anonymous says: • Disclaimer

    This guy AO Scott is on a left wing ratchet along with too many other media personalities to count. There is no turning back. It’s full speed ahead to a progressive destination that can never remain fixed in place—-in other words the destination is left wing infinity.

    This is a psychosis? Or maybe a weird addiction like the rage head temper tantrum addict who gets a “high” from each outburst. Moral high ground junkies…

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    • Replies: @Alfa158
    Well, in fairness journalism has become a competitive event with records continually being broken so everyone has to up their game to even stay in it. Moderation is commercial suicide.
    The Atlantic came up with Tennessee Coates, so the NYT has to counter with someone even stupider and crazier to avoid being left in the dust.
  11. boomstick says:

    Duane Jones simply had the best audition for “Night of the Living Dead,” and as a result was cast as Ben. The script was written without race in mind, really. It was a level Z budget movie, and not exactly able to be resistant to some actor preferences.

    Romero, interviewed later: “Consciously I resisted writing new dialogue ‘cause he happens to be black. We just shot the script. Perhaps ‘Night of the Living Dead’ is the first film to have a black man playing the lead role regardless of, rather than because of, his race.”

    http://www.thewrap.com/night-living-dead-casting-cult-classic-20545/

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  12. AO Scott is a crackpot.

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    • Replies: @Ivy
    Walter Duranty set the bar pretty high at the NYT in his defense of, or was it non-noticing of, all that white Bolshevik supremacy. That required some contortions, given the then-antipathy to all those bad-White Russians. At least we have a cocktail by which to remember them.
  13. Two Jews calling out Whites for being racist? This must be the first ever occurrence of this.

    Also, who initiated this trend of applying critical analysis to mindless pieces of pop-culture? I have to say, it is extremely revelatory to think critically about these apparently pointless works. Never having seen his films, I did not know that George Romero thought about me and my people in a way similar to how the average New York Times theater critic thinks about me and my people. Eye-opening stuff!

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    • Replies: @Anon
    (((A. O. SCOTT))) and (((JASON ZINOMAN)))

    Every. Single. Time.
  14. I hinted that relentless mocking of A.O. Scott could be read as the behavior of an improved world: A calm and competent society saves A.O. Scott from his own self-hatred, politically correct virtue-signalling, and overall asscuckholdry.

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  15. I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent white-American saves the black people from their own rashness and stupidity.

    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent straight-American saves the gay people from their own rashness and stupidity.

    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent Christian-American saves the Muslims from their own rashness and stupidity.

    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent American man saves the women from their own rashness and stupidity.

    Same exact structure and yet if A.O. Scott said any one of these, he would be out of a job in a New York minute. Why?

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    • Replies: @BenKenobi
    "Come take one in the yarbles, that is if you've got any yarbles!"

    To ask the question is to answer it.
  16. A calm and competent African-American saves the white people from their own rashness and stupidity

    So, a magical negro?

    https://en.wikipedia.org/wiki/Magical_Negro

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  17. Ivy says:
    @candid_observer
    AO Scott is a crackpot.

    Walter Duranty set the bar pretty high at the NYT in his defense of, or was it non-noticing of, all that white Bolshevik supremacy. That required some contortions, given the then-antipathy to all those bad-White Russians. At least we have a cocktail by which to remember them.

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  18. Arclight says:

    And who can forget AO Scott’s review of TNC’s “Between the World and Me” where we were informed reading it was essential like water or air?

    The loathing this guy has for the country and culture that provide him with a comfortable living and a prominent position in his area of interest is disgusting.

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  19. anon says: • Disclaimer

    It’s been awhile since I watched the original movie, but I don’t think any of the actual zombies in the movie were black, were they? It would have been kind of interesting if they had been.

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    • Replies: @Lurker
    I think there were very few, if any, ZoC.

    Same as The Walking Agenda - the zombies are overwhelmingly white.
    , @Lugash
    It would be interesting to make a sci-fi or horror movie with explicit racial biases. A virus or bacteria that only affects one race. A recreational drug that turns people into zombies, and certain groups keep using it. Or alternatively, the zombie virus and it's symptoms have been identified, and can be treated, but certain groups keep passing it on through promiscuous sex. It'll never happen in the current year though.

    Get Out would have been better if the plot had required African Americans because they were hosts that resulted in a better success rate, other than the cheap racial chauvinism.
  20. Night of the Living Dead is actually pretty funny. The whole movie is an argument between a charismatic black guy, who thinks everyone in the house should try to make a run for it, and an unattractive white guy, who thinks they should hunker down and fight.

    The black guy prevails and ends up getting everyone killed but himself. He then runs back in the house and barricades himself like the white guy wanted to do all along and lives until accidentally being shot by the rescue party.

    The lesson, beware the affirmative action case who seems polished, but has no idea how the world works.

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    • Replies: @2Mintzin1
    Pretty much, yeah. But the black guy f*cked up w/ style. A silly plot, on the whole.

    I was surprised not to see him in any more movies...thought his performance was solid when most everyone else in the cast was at High School Play level...but there are plenty of these lost characters in cult movies (e.g. director of "Carnival of Souls" and his leading lady Candace Hilligoss).
    , @Anon
    Night of the Living Dead is actually pretty funny.

    For meit was funny for a different reason.

    I first DAWN then caught NIGHT a year or two later. It was late-night showing, and I found it pretty grim and scary.

    It was later when I saw a college screening that the whole thing became a hoot. The audience just wanted to have a good time and laugh, and there was plenty to laugh at if one wanted to go that way. I began to notice all the flaws that I'd ignored yrs ago on TV. The amateurish acting, simple-minded script, the goofy personalities, the fake news on TV. But best of all, the film's sound got out of sync made it even more anarchic, near surreal.
    Some when the black guy was hammering nails, it'd be silent when the hammer struck and then go 'thud'. It was even funnier with gunshots. Or when characters began to shout.

    But for nonstop laugh riot at college screening, nothing beats Phantasm.

    https://www.youtube.com/watch?v=39zC_hYKm-8
  21. Anonymous says: • Disclaimer
    @hhsiii
    But Obama wasn't destroyed.

    And Romero is an ethnic white who has an African American hero nearly 50 years ago. No big deal. No one batted an eye.

    “I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed.”

    I suspect the Mafia these days probably find something else besides the Grey Lady to wrap their Sicilian Messages in. With this much idiocy, they’d be embarrassed that someone might think they actually read it.

    Read More
    • Replies: @Romanian
    Would that line be acceptable if they switched the races?
  22. anon says: • Disclaimer

    I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed.

    This is one of those statements that is so standard from the New York Times that it tends to just sort of slide by unnoticed, but what the hell is he talking about? What did Obama save us from? How was he “destroyed”?

    It doesn’t even make sense, unless you realize that he’s not talking about the real Obama. A O Scott is still talking about the fantasy Obama that he and his ilk created out of whole cloth back in 2008. It’s like his whole actual presidency never even really happened for Scott.

    That’s pretty strange.

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    • Replies: @ATX Hipster

    What did Obama save us from? How was he “destroyed”?
     
    He saved us from the horror of a 44th white male president, although only temporarily, and he accidentally set the stage for the most deplorable of all white male presidents.

    He was destroyed by the racist 22nd Amendment's white supremacist term limit. As we all know, the incoming unelected fascist president took advantage of a previously little-known and never before recognized amendment to the Constitution to circumvent the democratic process and seize power, whereupon his Brown Shirts lynched the rightful chief executive and imprisoned the former first lady.
  23. Steve you should start posting pictures of the authors when it comes to this ethno-masochism. I think it would put things into perspective.

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  24. @40 Acres and A Kardashian
    As deeply as they hate white people, am I right to assume A.O. Scott and Jason Zinoman come from Muslim backgrounds?

    am I right to assume A.O. Scott and Jason Zinoman come from Muslim backgrounds?

    Nope!!!

    Guess Again!!!
    Anthony Oliver Scott

    https://en.wikipedia.org/wiki/A._O._Scott

    He is a great nephew of the married acting couple Eli Wallach and Anne Jackson (his maternal grandfather was Eli’s brother).[3] Scott is Jewish on his mother’s side.[4]

    Mother

    https://en.wikipedia.org/wiki/Joan_Wallach_Scott

    She was born Joan Wallach in Brooklyn, New York, the daughter of Lottie (née Tannenbaum) and Sam Wallach, high school teachers.[4][5] Her family was Jewish, and her father was born in Dolina, Poland.[6] During the Red Scare, her father, who had been active in various left-wing causes, was fired for refusing to cooperate with an investigation into activities of the American Communist Party, an event that helped to seal his daughter’s sympathy with the left.[7] She graduated from Brandeis in 1962 and received her PhD from the University of Wisconsin–Madison in 1969.

    DING DING DING — 3rd Generation Red Diaper Baby!!!

    Did you honestly expect anything less???

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    • Replies: @Malcer
    The Jewish hatred of Whitey gets more amusing when you consider both Ashkenazi and Shephardi Jews have a MAJOR amount of European admixture. No less than 40%.
    , @lavoisier
    The absurdity of the nonsense made your prediction predictable.
  25. The irony of this piece, of course, is that “preparing for the zombie apocalypse” is code talk for “preparing for the scumbag apocalypse” which itself means “the day the EBT runs out”.

    Hornady was/is putting out green tipped anti-personnel rounds marketed as “Zombie Killer” rounds. Yeah sure. Zombies. Got it. ;)

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  26. Lurker says:
    @anon
    It's been awhile since I watched the original movie, but I don't think any of the actual zombies in the movie were black, were they? It would have been kind of interesting if they had been.

    I think there were very few, if any, ZoC.

    Same as The Walking Agenda – the zombies are overwhelmingly white.

    Read More
  27. Alfa158 says:
    @Anonymous
    This guy AO Scott is on a left wing ratchet along with too many other media personalities to count. There is no turning back. It's full speed ahead to a progressive destination that can never remain fixed in place----in other words the destination is left wing infinity.

    This is a psychosis? Or maybe a weird addiction like the rage head temper tantrum addict who gets a "high" from each outburst. Moral high ground junkies...

    Well, in fairness journalism has become a competitive event with records continually being broken so everyone has to up their game to even stay in it. Moderation is commercial suicide.
    The Atlantic came up with Tennessee Coates, so the NYT has to counter with someone even stupider and crazier to avoid being left in the dust.

    Read More
  28. White Male Law Enforcement Power Structure gunning down an immigrant woman in white bread Minnesota, just like last year that Aryan cop shot Philando Castile in Minnesota, which caused the White Supremacist president to incite the Alt-Right to shoot all those black BLM protestors in Dallas and Baton Rouge.

    Indeed, and the problem is systemic. The White Male Journalism and Academia Power Structures wield their Megaphone to normalize and perpetuate police brutality, silencing dissenting voices. For example, Ta-Nehisi Coates, who bravely spoke truth to power by calling attention to police violence against black bodies, can find no willing publishers for his work and is unable to command even a modest speaking fee.

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  29. @anon

    I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed.
     
    This is one of those statements that is so standard from the New York Times that it tends to just sort of slide by unnoticed, but what the hell is he talking about? What did Obama save us from? How was he "destroyed"?

    It doesn't even make sense, unless you realize that he's not talking about the real Obama. A O Scott is still talking about the fantasy Obama that he and his ilk created out of whole cloth back in 2008. It's like his whole actual presidency never even really happened for Scott.

    That's pretty strange.

    What did Obama save us from? How was he “destroyed”?

    He saved us from the horror of a 44th white male president, although only temporarily, and he accidentally set the stage for the most deplorable of all white male presidents.

    He was destroyed by the racist 22nd Amendment’s white supremacist term limit. As we all know, the incoming unelected fascist president took advantage of a previously little-known and never before recognized amendment to the Constitution to circumvent the democratic process and seize power, whereupon his Brown Shirts lynched the rightful chief executive and imprisoned the former first lady.

    Read More
  30. Romero said NOTLD was his rip-off of Richard Mathison’s excellent book “I Am Legend”. The story of Romero and his producers letting the copyright for NOTLD lapse, putting the film into the public domain and resulting in them making no money from it is one of the biggest film business screw-ups ever.

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  31. newrouter says:

    What fun to read about a yinzer(Pgh) movie director. So much for that culture these days what with gypsies/roma:

    Romanians seeking asylum are in California, Pa. as part of U.S. Immigration program

    http://www.post-gazette.com/local/south/2017/07/14/California-Pa-residents-want-answers-about-Romanian-immigrants/stories/201707140150

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    • Replies: @Romanian
    I'm torn between suing the Post for damage to the national brand and kissing them for subtly advocating for taking in the freeloaders. The whole Roma thing has dragged the Romanian name through the mud. I'll err on the side of principle and still call them and the enablers of this migration traitors. The article is full of iSteve material. A few examples:

    The Romanians, who said they came to America to escape persecution in their Bucharest-area homes, have been processed through U.S. Immigration and Customs Enforcement and have been released as part of the government’s Alternative to Detention program, which monitors flight from other nations.
    .....
    But the Romanians, nearly all of whom are renting apartments from local real estate agent Vito Dentino
    .........
    Ali George, 24, a native of Bucharest, said they were drawn to California by the same things that might attract anyone -- a friendly, inexpensive place to live. Many in their group are related; others knew each other back in Bucharest.

    We left our country, not because we are poor,” said a friend of Mr. George, who did not want to give his name. “We left because of racism and we’re seeking political asylum.”
     

    The effing nerve, to ask for asylum from goddamn Bucharest of all places, epicenter of Romanian liberalism. Persecution? The Roma mobsters are filthy rich and control politicians. The brother of the former President is in jail because of influence peddling on behalf of a Gypsy mob boss (whose nephew, Mercedes, was building a house near mine in my hometown before he went to jail or something). The Roma poor disproportionately benefit from whatever welfare and affirmative action we can cobble together and are an important block vote for the socialist party currently ruining the nation fiscally.

    I'm also torn between berating them for still being an almost distinct race 800 years after sashaying in (which allows them to claim racism today) and thanking them for remaining mostly endogamous. Also, that last part screams illegal stuff (not necessarily violence, but mass theft of cables, piping, railway tracks etc, vice peddling). If they were well off through legitimate means, they would have no trouble fitting in as middle class folk, with all of the Arabs and Turks and swarthier Romanians.

  32. J1234 says:

    No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.

    I have no idea how Night of the Living Dead was intended by Romero, but the hordes of Zombie themed firearms and ammunition sold (mostly to whites) in a marketing craze several years ago speaks volumes about how NOTLD has been perceived by millions of people: As a metaphor for non-thinking masses rising up to usurp the conventional way of life and bring down a social order that they have no vested interest in. And that would make the zombies more like poor violent minorities and population exploding third world immigrants than anyone else.

    It should be obvious to anyone – especially movie critics – that the inner city black riots of the 1960′s would be a parallel theme for a movie about the rising masses made in 1968. But does this guy look like he remembers anything about 1968?

    Romero may have had a black leading man to fend of charges of racism for a movie that seemed to use zombies, at least in part, as a metaphor for social unrest.

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    • Replies: @40 Acres and A Kardashian
    Exactly.

    Star Trek is what white people 50 years ago hoped a multiracial America would be like.

    The Walking Dead is what white people today are afraid it's going to be like.

    , @boomstick
    In NOTLD the black character was cast where he was simply because he was a good actor working in a cheap movie, and he was better in the role than the competition. The script had already been written and Romero didn't change it to any appreciable extent for filming. The character was just a guy who happened to be black, and not intended to be some larger lesson.

    That concept that the movie was about racism was invented by viewers who wanted it to happen, just because there was a black guy on film. They still want it to happen.
    , @Jean Ralphio
    Good insight about the zombies being a metaphor for black rioters. In Romero's 1978 Dawn of the Dead there's a scene set in a ghetto housing project where the inhabitants have all been turned into zombies. You're also spot on about it not being a coincidence that Romero cast a black guy as the leading man. I'm surprised most commenters here seem to take the liberal Romero at his word that the casting had nothing to do with race.
  33. @J1234

    No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.
     
    I have no idea how Night of the Living Dead was intended by Romero, but the hordes of Zombie themed firearms and ammunition sold (mostly to whites) in a marketing craze several years ago speaks volumes about how NOTLD has been perceived by millions of people: As a metaphor for non-thinking masses rising up to usurp the conventional way of life and bring down a social order that they have no vested interest in. And that would make the zombies more like poor violent minorities and population exploding third world immigrants than anyone else.

    http://www.thefirearmblog.com/blog/wp-content/uploads/2013/04/Iver-Johnson-Zombie-1911.jpg

    It should be obvious to anyone - especially movie critics - that the inner city black riots of the 1960's would be a parallel theme for a movie about the rising masses made in 1968. But does this guy look like he remembers anything about 1968?

    http://www.indianapolismonthly.com/wp-content/uploads/sites/3/2017/02/Jason-Zinoman.jpg

    Romero may have had a black leading man to fend of charges of racism for a movie that seemed to use zombies, at least in part, as a metaphor for social unrest.

    Exactly.

    Star Trek is what white people 50 years ago hoped a multiracial America would be like.

    The Walking Dead is what white people today are afraid it’s going to be like.

    Read More
  34. BenKenobi says:
    @Paul Yarbles
    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent white-American saves the black people from their own rashness and stupidity.

    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent straight-American saves the gay people from their own rashness and stupidity.

    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent Christian-American saves the Muslims from their own rashness and stupidity.

    I hinted that the Jones character’s death could be read as a prophecy of Donald Trump’s presidency: A calm and competent American man saves the women from their own rashness and stupidity.

    Same exact structure and yet if A.O. Scott said any one of these, he would be out of a job in a New York minute. Why?

    “Come take one in the yarbles, that is if you’ve got any yarbles!”

    To ask the question is to answer it.

    Read More
  35. Dr. Doom says:

    Gee, the Times they are always the same to the Dinosaur Media. You might believe its the 1960s if you waste your time and money reading this drivel. Zombie Apocalypse is not the White Hating Fantasy that the old grey mare wants you to believe.
    They just hate the future. Its not the one they have been hallucinating for their entire lives.

    Read More
  36. 2Mintzin1 says:
    @James Braxton
    Night of the Living Dead is actually pretty funny. The whole movie is an argument between a charismatic black guy, who thinks everyone in the house should try to make a run for it, and an unattractive white guy, who thinks they should hunker down and fight.

    The black guy prevails and ends up getting everyone killed but himself. He then runs back in the house and barricades himself like the white guy wanted to do all along and lives until accidentally being shot by the rescue party.

    The lesson, beware the affirmative action case who seems polished, but has no idea how the world works.

    Pretty much, yeah. But the black guy f*cked up w/ style. A silly plot, on the whole.

    I was surprised not to see him in any more movies…thought his performance was solid when most everyone else in the cast was at High School Play level…but there are plenty of these lost characters in cult movies (e.g. director of “Carnival of Souls” and his leading lady Candace Hilligoss).

    Read More
  37. Anonymous says: • Disclaimer

    a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed. Now, of course, the prophecy seems all the more chilling. The casual, unapologetic and ultimately self-destructive violence of white supremacy is the true and enduring horror of American life.

    A lot of these left-wing outfits are acting like apocalypse preachers ministering to a flock that’s grown restless and impatient because Trump has wound back by a few minutes the doomsday clock counting down until their sacrificial slaughter for the sins of whitekind.

    Read More
  38. boomstick says:
    @J1234

    No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.
     
    I have no idea how Night of the Living Dead was intended by Romero, but the hordes of Zombie themed firearms and ammunition sold (mostly to whites) in a marketing craze several years ago speaks volumes about how NOTLD has been perceived by millions of people: As a metaphor for non-thinking masses rising up to usurp the conventional way of life and bring down a social order that they have no vested interest in. And that would make the zombies more like poor violent minorities and population exploding third world immigrants than anyone else.

    http://www.thefirearmblog.com/blog/wp-content/uploads/2013/04/Iver-Johnson-Zombie-1911.jpg

    It should be obvious to anyone - especially movie critics - that the inner city black riots of the 1960's would be a parallel theme for a movie about the rising masses made in 1968. But does this guy look like he remembers anything about 1968?

    http://www.indianapolismonthly.com/wp-content/uploads/sites/3/2017/02/Jason-Zinoman.jpg

    Romero may have had a black leading man to fend of charges of racism for a movie that seemed to use zombies, at least in part, as a metaphor for social unrest.

    In NOTLD the black character was cast where he was simply because he was a good actor working in a cheap movie, and he was better in the role than the competition. The script had already been written and Romero didn’t change it to any appreciable extent for filming. The character was just a guy who happened to be black, and not intended to be some larger lesson.

    That concept that the movie was about racism was invented by viewers who wanted it to happen, just because there was a black guy on film. They still want it to happen.

    Read More
    • Replies: @Anon
    In NOTLD the black character was cast where he was simply because he was a good actor working in a cheap movie, and he was better in the role than the competition.

    I think the interesting thing about the black guy is we are made to root for him -- and I did too -- because of (1) he seems most leader-like and (2) most pro-active. We like such characters in movies, right or wrong, They get the ball rolling.

    So, regardless of whether his idea is good or bad, we think he should lead and call the shots because he seems most bold and most action-oriented in NOTLD or Long Day's Journey Into Bite.

    It was later when watching the movie again that I realized... Archie was right!

    But we overlook that fact because the guy is an unpleasant bald-headed petty character who also drives his wife crazy. He looks like Slats Grobnik's father.

    Well, never judge a book by its cover.

    Sometimes, those who seem most leader-like take the wrong gamble whereas those who seem gorky-shmorky(even more so than AO Scott) could just be right.

    So, if we wanna connect NOTLD to Obama, it's a lesson on how people can stupidly fall under the spell of someone because he seems to have the Style. But he could be a total phony.
    What did Obama give us? Libya disaster, homo degeneracy as religion, Syria War, Neo-Nazi takeover of Ukraine, useless tensions with Russia, etc.

    But AO Scott just fails to see any of this because he's fixated on Style. He should see Six. Degrees of Separation instead.

    America fell in love with OJ too.
  39. Malcer says:
    @anonymous-antimarxist

    am I right to assume A.O. Scott and Jason Zinoman come from Muslim backgrounds?

     

    Nope!!!

    Guess Again!!!
    Anthony Oliver Scott
    https://en.wikipedia.org/wiki/A._O._Scott

    He is a great nephew of the married acting couple Eli Wallach and Anne Jackson (his maternal grandfather was Eli's brother).[3] Scott is Jewish on his mother's side.[4]
     
    Mother
    https://en.wikipedia.org/wiki/Joan_Wallach_Scott

    She was born Joan Wallach in Brooklyn, New York, the daughter of Lottie (née Tannenbaum) and Sam Wallach, high school teachers.[4][5] Her family was Jewish, and her father was born in Dolina, Poland.[6] During the Red Scare, her father, who had been active in various left-wing causes, was fired for refusing to cooperate with an investigation into activities of the American Communist Party, an event that helped to seal his daughter's sympathy with the left.[7] She graduated from Brandeis in 1962 and received her PhD from the University of Wisconsin–Madison in 1969.
     
    DING DING DING --- 3rd Generation Red Diaper Baby!!!

    Did you honestly expect anything less???

    The Jewish hatred of Whitey gets more amusing when you consider both Ashkenazi and Shephardi Jews have a MAJOR amount of European admixture. No less than 40%.

    Read More
  40. Escher says:

    A calm (stoned) and competent (teleprompted) African-American saves the white people from their own rashness and stupidity (by listening to his string-pullers) (as well as from zombies - by bailing them out) and is destroyed (only got 2 book contracts).

    Read More
  41. Calogero says:

    How exactly does the U.S. have “white supremacy” when the people in control of most aspects of American life don’t even consider themselves to be white?

    Read More
  42. @syonredux

    But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones. No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.
     
    Of course, Romero always claimed that the script was not written with a Black actor in mind.Duane Jones simply had the best audition.....

    I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies)
     
    Actually, the Black guy ends up surviving the longest by using the White guy's plan....

    Harry demands that everyone hide in the cellar, but Ben [the Black guy] deems it a "deathtrap" and continues upstairs, to barricade the house with Tom's help.
     

    As the zombies overrun the house, Ben fights off Karen and seals himself inside the cellar, where Harry and Helen are reanimating, and he is forced to shoot them.

     

    https://en.wikipedia.org/wiki/Night_of_the_Living_Dead#Plot

    and is destroyed.
     
    Ah, I remember the heady days when White Liberals had fantasies about Obama (too good, too pure for this cis-lunar world) dying at the hands of redneck racists.....

    These kinds of idiots always impute their daffy hang-ups to art, even when the artist himself is standing beside them screaming “That’s not true; that wasn’t what I did, what I meant, or how it happened. I’m right here; I can hear you!” All the while the bloviator steps in front of the artists and increases the volume of his tirade.

    It happened with Romero and race, Tolkien and nuclear power, Dick and drugs, Carroll and pedophilia, Heinlein and religion, Camus and colonialism, and on and on. Projection is tiresome, hence artistic and literary criticism is by and large garbage – our humble host excluded, of course; and that’s not just toadying; he does something a bit different and more useful, typically focusing on technical execution rather than imagined subliminal messages. To write that The Lamb Lies Down on Broadway contains evocative lyrics, challenging melodic structures, and irregular time signatures that make it worth listening to is indisputable and noteworthy, it is useful criticism that guides a reader’s decisions about his budget of time and money for music with an informed judgement; to drone on about one’s pet theories regarding the symbolism of Rael’s adventures probably less so…).

    Those who can, do; those who cannot, teach; those who can’t even, critique.

    Read More
    • Replies: @kaganovitch
    "Those who can, do; those who cannot, teach; those who can’t even, critique."

    Outstanding!
  43. @J1234

    No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.
     
    I have no idea how Night of the Living Dead was intended by Romero, but the hordes of Zombie themed firearms and ammunition sold (mostly to whites) in a marketing craze several years ago speaks volumes about how NOTLD has been perceived by millions of people: As a metaphor for non-thinking masses rising up to usurp the conventional way of life and bring down a social order that they have no vested interest in. And that would make the zombies more like poor violent minorities and population exploding third world immigrants than anyone else.

    http://www.thefirearmblog.com/blog/wp-content/uploads/2013/04/Iver-Johnson-Zombie-1911.jpg

    It should be obvious to anyone - especially movie critics - that the inner city black riots of the 1960's would be a parallel theme for a movie about the rising masses made in 1968. But does this guy look like he remembers anything about 1968?

    http://www.indianapolismonthly.com/wp-content/uploads/sites/3/2017/02/Jason-Zinoman.jpg

    Romero may have had a black leading man to fend of charges of racism for a movie that seemed to use zombies, at least in part, as a metaphor for social unrest.

    Good insight about the zombies being a metaphor for black rioters. In Romero’s 1978 Dawn of the Dead there’s a scene set in a ghetto housing project where the inhabitants have all been turned into zombies. You’re also spot on about it not being a coincidence that Romero cast a black guy as the leading man. I’m surprised most commenters here seem to take the liberal Romero at his word that the casting had nothing to do with race.

    Read More
  44. Roger says:

    As others have pointed out above, AO Scott has grossly misunderstood the racial angle to the movie.

    Read More
  45. Anon says: • Disclaimer

    JASON ZINOMAN But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones.

    A. O. SCOTT I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity

    I know Romero was a sort of a lefty, but NOTLD is rather ironic and ambiguous.

    For one thing, the ‘law enforcement’ that shot Duane Jones thought they were shooting a zombie. After all, the black guy didn’t say nothing. So, they the cleanup mob presumed it had to be a zombie. And in killing zombies at least, the mob was not ‘racist’. They killed any zombie, white black brown or whatever. Also, the funny thing about zombies is they are also ‘anti-racist’. Zombies don’t discriminate based on color. White zombie, black zombie, Jewish zombie, Muslim zombie, they are all bunch of ghouls who co-exist peacefully. If all Israelis and Palestinians turned zombie, they’d get along just fine. Indeed, it’s interesting how the zombies all ‘cooperate’ whereas the sentient humans bicker among eachother. (To be sure, zombies are not consciously cooperating. They all have common goal: to eat humans. So, they all focus on that and that alone. But at least, they don’t disagree on strategy since their way is simple: see human, eat him). More intelligence and consciousness means greater ability for organisms to cooperate and coordinate. Humans have this ability whereas a pack of piranhas just go into feeding frenzy. But more intelligence also means more disagreements and conflicts among the various personalities who think they know best. So, intelligence both brings organisms together but also sets them apart… not only due to intellectual differences but pride of ego. There is also sexual tensions among humans. Zombies are asexual in that their own drive is hunger.

    Zombies attack living humans. But it’s not hatred but an insatiable hunger. And zombies will attack even friends and family members who are alive. So, zombies don’t discriminate based on love either. They don’t spare someone because he or she is a family member. If he’s alive, the zombie will eat him even if he used to be a dear one. This mindlessness is most primal but it’s also most ‘progressive’ because it’s egalitarian… like the zombie-like radicals in Godard’s Weekend who destroy everything and once they’ve reached Year Zero, they don’t care about anything.

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he’s caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he’s just another zombie. Ironically, his body is treated like the bodies of dead white zombies.

    Another thing, and this is where AO Scott totally misses the point.
    The black guy turns out to be have been wrong. He was the one who was rash. The fact is they were in the middle of nowhere and there were zombies all over. The BEST thing would have been to stay quiet, turn the lights off, and hunker down. Just wait for help.. which was Archie Bunker’s advice.
    But the black guy decides he’s gonna be boss. He’s gonna pull some stunt. And the whites go along with his plan. Even Archie Bunker relents and goes along. Also, all white characters in the movie are sympathetic except for Archie Bunker(who proves to have been right all along though). The white couple are helpful and do as the Negro says. And the wife of Archie is willing to side with the black guy too. Now, the white girl is freaked out, but given what she went through — watching her brother get attacked and chased by crazy guy and a dead body in the house — , it is understandable why she’s in such bad condition. If anything, the black guy is indifferent and curt to her.

    Anyway, the black guy wins the argument, and he gets to do it his way. And it totally fails with the truck blowing up and the white couple getting burnt alive and killed. It is then that Archie turned on the Negro. Only then. Black guy’s plan led to total mess and even dead people. The black guy had too much pride hanging on him. He was rash.

    Archie was right. They should turned off the light, and stayed quiet as possible and wait for help. Now, Archie was a jerk too. He wanted to be the boss. So, he had his ego and pride too. But the big failure was due to the gamble taken by the Negro that cost the lives of the white couple that was totally helpful.

    I think we should create a bunch of zombie flesh-eating apes and throw Scott at them.

    Now, if AO Scott wants to name a more honorable Negro, it’s the guy in Dawn of the Dead.
    He’s more cautious in that movie. In contrast, the white SWAT guy has something to prove and takes risks, like the Negro in NOTLD. SWAT guy gets bitten and dies.

    The other white guy(one with the woman) is also like the black guy in NOTLD. He grows attached to game of territoriality in a place that isn’t his. He begins to act like the Mall is his kingdom, and he starts a shooting war with the bikes.
    The black guy in NOTLD does the same thing. Archie Bunker saw just the house as a temporary hideout. Just hide there until the help arrives. In contrast, the black guy acts like the house is his castle and goes to war with the zombies over turf. And it wasn’t even his turf.

    Read More
    • Replies: @Zombie Tim
    Anon Said:

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he’s caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he’s just another zombie. Ironically, his body is treated like the bodies of dead wh
    ite zombies.
     
    Sir, you are batshit crazy!

    1. The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That's what that black guy, or ANYone, would want to know first!

    2. Intending to investigate, while reasonably suspecting there may still be Zombie's in the house, he slowly, quietly unlocks the basement door, and walks cautiously into the living room, with his rifle ready to go. Remember, the last time that living room was occupied, it was packed with Zombie's partying on his cohort's body parts, and endlessly banging on the basement door!

    3. Walking into the kitchen, rifle ready–because Zombies–he walks slowly and cautiously, ready for anything, with a reasonable expectation of having to again shoot flesh-eating Zombies.

    4. The Rednecks notice the shadow of a figure walking slowly–some might say at the pace of a Zombie–towards the window.

    5. Before anyone can be identified on either side, the Redneck takes the shot, as encouraged by his boss. His boss, nor the Redneck state anything explicit, or that implied, that he was knowingly shooting a black guy in the head. Nor, since it was a white rural area in 1968, would any of them even expect to see a black guy in that house!

    The Rednecks were shooting an assumed Zombie, plain and simple!!


    The Moral of the Movie: The best laid plans of Zombie's and men oft go awry!

    For your review:

    https://youtu.be/X6IDNqHuHmE

  46. Anon says: • Disclaimer

    Interestingly enough, the black guy is the last survivor because… he does what Archie had been saying all along.

    He hides in the den.

    Besides, the zombies don’t have the cunning of Robert Mitchum.

    Read More
  47. Anon says: • Disclaimer
    @boomstick
    In NOTLD the black character was cast where he was simply because he was a good actor working in a cheap movie, and he was better in the role than the competition. The script had already been written and Romero didn't change it to any appreciable extent for filming. The character was just a guy who happened to be black, and not intended to be some larger lesson.

    That concept that the movie was about racism was invented by viewers who wanted it to happen, just because there was a black guy on film. They still want it to happen.

    In NOTLD the black character was cast where he was simply because he was a good actor working in a cheap movie, and he was better in the role than the competition.

    I think the interesting thing about the black guy is we are made to root for him — and I did too — because of (1) he seems most leader-like and (2) most pro-active. We like such characters in movies, right or wrong, They get the ball rolling.

    So, regardless of whether his idea is good or bad, we think he should lead and call the shots because he seems most bold and most action-oriented in NOTLD or Long Day’s Journey Into Bite.

    It was later when watching the movie again that I realized… Archie was right!

    But we overlook that fact because the guy is an unpleasant bald-headed petty character who also drives his wife crazy. He looks like Slats Grobnik’s father.

    Well, never judge a book by its cover.

    Sometimes, those who seem most leader-like take the wrong gamble whereas those who seem gorky-shmorky(even more so than AO Scott) could just be right.

    So, if we wanna connect NOTLD to Obama, it’s a lesson on how people can stupidly fall under the spell of someone because he seems to have the Style. But he could be a total phony.
    What did Obama give us? Libya disaster, homo degeneracy as religion, Syria War, Neo-Nazi takeover of Ukraine, useless tensions with Russia, etc.

    But AO Scott just fails to see any of this because he’s fixated on Style. He should see Six. Degrees of Separation instead.

    America fell in love with OJ too.

    Read More
  48. Lugash says:
    @anon
    It's been awhile since I watched the original movie, but I don't think any of the actual zombies in the movie were black, were they? It would have been kind of interesting if they had been.

    It would be interesting to make a sci-fi or horror movie with explicit racial biases. A virus or bacteria that only affects one race. A recreational drug that turns people into zombies, and certain groups keep using it. Or alternatively, the zombie virus and it’s symptoms have been identified, and can be treated, but certain groups keep passing it on through promiscuous sex. It’ll never happen in the current year though.

    Get Out would have been better if the plot had required African Americans because they were hosts that resulted in a better success rate, other than the cheap racial chauvinism.

    Read More
    • Replies: @Brutusale
    Someone should option Frank Herbert's The White Plague.

    https://en.wikipedia.org/wiki/The_White_Plague
  49. Anon says: • Disclaimer

    According to Kehr, Romero was the premier intellectual of American cinema.
    Never saw Monkey Shines. I did see CREEPSHOW, and it didn’t strike me as ‘intellectual’. Maybe I was too young but I don’t want to see the bug scene again. I did see MARTIN, and that was a strangely provocative ‘vampire’ movie.. or trans-vampire movie.

    http://articles.chicagotribune.com/1988-07-29/entertainment/8801180452_1_living-dead-monkey-george-romero

    Of the zombie movies, only NIGHT and DIARY really work — even though DAWN is legendary and got me into the genre — because the shock factor is the most crucial. The idea that the dead are coming back to life is seriously unnerving. It’s like discovering the earth is flat(or like people who thought earth is flat discovering it is round). Once that fact is established, it just turns into gore-fest and tagging ever sillier metaphors on zombies for allegorical purposes, none of which were very convincing.

    Kehr really loved the remake of THE FLY, but it struck me as Cronenberg for Dummies.

    http://articles.chicagotribune.com/1986-08-15/entertainment/8603010075_1_cronenberg-fly-experimental-films

    Romero’s most ambitious movie may be KNIGHTRIDERS that came out around the same time as EXCALIBUR.
    It may have a racial angle, but the ‘black knight’ is played by a white guy.
    It is about the game of thrones.

    Read More
  50. Well, speaking for myself, I just enjoyed Romero’s films. Particularly Dawn of the Dead. So I’m just sorry he’s gone.

    R.I.P.

    Who cares what the zombies of the NY Times think?

    Read More
    • Replies: @Jean Ralphio
    Well said. Dawn of the Dead is the quintessential zombie film.
  51. @Anon
    JASON ZINOMAN But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones.

    A. O. SCOTT I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity

    I know Romero was a sort of a lefty, but NOTLD is rather ironic and ambiguous.

    For one thing, the 'law enforcement' that shot Duane Jones thought they were shooting a zombie. After all, the black guy didn't say nothing. So, they the cleanup mob presumed it had to be a zombie. And in killing zombies at least, the mob was not 'racist'. They killed any zombie, white black brown or whatever. Also, the funny thing about zombies is they are also 'anti-racist'. Zombies don't discriminate based on color. White zombie, black zombie, Jewish zombie, Muslim zombie, they are all bunch of ghouls who co-exist peacefully. If all Israelis and Palestinians turned zombie, they'd get along just fine. Indeed, it's interesting how the zombies all 'cooperate' whereas the sentient humans bicker among eachother. (To be sure, zombies are not consciously cooperating. They all have common goal: to eat humans. So, they all focus on that and that alone. But at least, they don't disagree on strategy since their way is simple: see human, eat him). More intelligence and consciousness means greater ability for organisms to cooperate and coordinate. Humans have this ability whereas a pack of piranhas just go into feeding frenzy. But more intelligence also means more disagreements and conflicts among the various personalities who think they know best. So, intelligence both brings organisms together but also sets them apart... not only due to intellectual differences but pride of ego. There is also sexual tensions among humans. Zombies are asexual in that their own drive is hunger.

    Zombies attack living humans. But it's not hatred but an insatiable hunger. And zombies will attack even friends and family members who are alive. So, zombies don't discriminate based on love either. They don't spare someone because he or she is a family member. If he's alive, the zombie will eat him even if he used to be a dear one. This mindlessness is most primal but it's also most 'progressive' because it's egalitarian... like the zombie-like radicals in Godard's Weekend who destroy everything and once they've reached Year Zero, they don't care about anything.

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he's caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he's just another zombie. Ironically, his body is treated like the bodies of dead white zombies.

    Another thing, and this is where AO Scott totally misses the point.
    The black guy turns out to be have been wrong. He was the one who was rash. The fact is they were in the middle of nowhere and there were zombies all over. The BEST thing would have been to stay quiet, turn the lights off, and hunker down. Just wait for help.. which was Archie Bunker's advice.
    But the black guy decides he's gonna be boss. He's gonna pull some stunt. And the whites go along with his plan. Even Archie Bunker relents and goes along. Also, all white characters in the movie are sympathetic except for Archie Bunker(who proves to have been right all along though). The white couple are helpful and do as the Negro says. And the wife of Archie is willing to side with the black guy too. Now, the white girl is freaked out, but given what she went through -- watching her brother get attacked and chased by crazy guy and a dead body in the house -- , it is understandable why she's in such bad condition. If anything, the black guy is indifferent and curt to her.

    Anyway, the black guy wins the argument, and he gets to do it his way. And it totally fails with the truck blowing up and the white couple getting burnt alive and killed. It is then that Archie turned on the Negro. Only then. Black guy's plan led to total mess and even dead people. The black guy had too much pride hanging on him. He was rash.

    Archie was right. They should turned off the light, and stayed quiet as possible and wait for help. Now, Archie was a jerk too. He wanted to be the boss. So, he had his ego and pride too. But the big failure was due to the gamble taken by the Negro that cost the lives of the white couple that was totally helpful.

    I think we should create a bunch of zombie flesh-eating apes and throw Scott at them.

    Now, if AO Scott wants to name a more honorable Negro, it's the guy in Dawn of the Dead.
    He's more cautious in that movie. In contrast, the white SWAT guy has something to prove and takes risks, like the Negro in NOTLD. SWAT guy gets bitten and dies.

    The other white guy(one with the woman) is also like the black guy in NOTLD. He grows attached to game of territoriality in a place that isn't his. He begins to act like the Mall is his kingdom, and he starts a shooting war with the bikes.
    The black guy in NOTLD does the same thing. Archie Bunker saw just the house as a temporary hideout. Just hide there until the help arrives. In contrast, the black guy acts like the house is his castle and goes to war with the zombies over turf. And it wasn't even his turf.

    Anon Said:

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he’s caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he’s just another zombie. Ironically, his body is treated like the bodies of dead white zombies.

    Sir, you are batshit crazy!

    1. The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That’s what that black guy, or ANYone, would want to know first!

    2. Intending to investigate, while reasonably suspecting there may still be Zombie’s in the house, he slowly, quietly unlocks the basement door, and walks cautiously into the living room, with his rifle ready to go. Remember, the last time that living room was occupied, it was packed with Zombie’s partying on his cohort’s body parts, and endlessly banging on the basement door!

    3. Walking into the kitchen, rifle ready–because Zombies–he walks slowly and cautiously, ready for anything, with a reasonable expectation of having to again shoot flesh-eating Zombies.

    4. The Rednecks notice the shadow of a figure walking slowly–some might say at the pace of a Zombie–towards the window.

    5. Before anyone can be identified on either side, the Redneck takes the shot, as encouraged by his boss. His boss, nor the Redneck state anything explicit, or that implied, that he was knowingly shooting a black guy in the head. Nor, since it was a white rural area in 1968, would any of them even expect to see a black guy in that house!

    The Rednecks were shooting an assumed Zombie, plain and simple!!

    The Moral of the Movie: The best laid plans of Zombie’s and men oft go awry!

    For your review:

    Read More
    • Replies: @Anon
    The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That’s what that black guy, or ANYone, would want to know first!

    No, it was pretty clear from the all the gunshots, dog barkings, and commotion that the humans were wiping out zombies and taking back the town.

    The final scene was surely meant as a STATEMENT. It did have racial overtones. But it's all confused. The final scenes are like Holocaust imagery. We see bodies piled atop one another like in those footages. It looks especially sinister because meat hooks are used. It's confused because zombies are not innocent victims but dangerous killers. On the other hand, they are not evil. They were just doing the only thing they know how. Eat.
    Imagine you're a Jew hiding from Nazis. But then, zombies take over the town, and you work with some Germans to kill zombies. But you're the final survivor, and the zombies are being defeated and the town is being cleared... by the SS. Now, you're in a bind.

    This isn't to say black experience in the US was anything like WWII, BUT we have to remember that comparisons were often made between black experience and Jewish experience. And KKK, white southerners, and etc. were often conflated with Neo-Nazis and the like. And many people in 68 would have picked up those signals.

    Also, Lynching came to symbolize the worst evil of America. And the humans who exterminate the zombies look like a lynch mob. Now, they are doing what must be done. Zombies must go. But Romero also presents the fun, sportsmanlike side to this. After all, reality is 50% perception. Even if zombies must go, it's still ugly business. These were once-humans but are now walking dead who eat humans and must be killed. It shouldn't be fun stuff. But the mob seems to enjoy wiping out the zombies. They seem to treat it like sport or some kind of hunt. They get into the act. It's like some communities must kill animals that pose a threat to humans or livestock. But what if this necessity is turned into a pastime? It's like this image I saw in Life compilation magazine. Maybe those foxes needed to be culled as pests, but is it human for people to take pleasure from it?

    http://freefromharm.org/animal-rights/the-boy-and-the-fox-from-beating-to-eating-animals/

    Maybe it was a commentary on war, especially Vietnam War. There are those who see war as necessary evil. But there are others who see war as opportunity to kill and have 'fun'... like Kilgore in APOCALYSE NOW. "Charlie don't surf", so blow them up.

    So, Romero goes for a grey area. Zombies must go, but they are not evil. They are living dead with animal appetites. We root for humans, but some of these humans seem to be almost giddy with fun and thrills as they pile up these bodies. It's like Zombie Hunting, the Time of the Season. Indeed, this is the difference between those who hunt for meat(or to cull surplus population) and those who hunt for the thrill or fun of watching animals be brutalized or killed.Look at this lunatic. He thinks it's fun and games to spear a bear just for sports. (But then, you go the Chinese who seem to skin animals alive on an industrial scale. That's people acting like soul-zombies.)

    https://www.youtube.com/watch?v=vVR4wFtRg74

    But I have problems with the ending of NOTLD because it introduces a whole new theme that was NOT developed throughout the movie. It looks like Romero was reaching for meaning beyond the scope of the movie.

    Also, what happens to the Negro is disturbing in historical and political context. One could say his killing was an 'innocent' mistake, and he was just a casualty of friendly fire. But there is a sense that the mob doesn't really care or may even feel some pleasure in having killed a black guy, zombie or no zombie. The scene is ambiguous, like the ending of BRIDGE OF RIVER KWAI(even though it's pretty certain Guinness meant to blow it up). FRENCH CONNECTION also ends with the 'good guy' killing a fellow cop with whom he often feuds. (The shooting in INSOMNIA is also clouded with uncertainty. An accident, a murder, or a conscious accident but subconscious murder?)

    NOTLD also plays on our cops-and-robbers psychology. It's almost as if we want the world to be simply divided between two camps. Humans vs zombies. Zombies are so irredeemable(even if not evil) that they must be killed. NOTLD plays on two levels. It leaves us no choice but to root for humans who are killing the zombies. But in our conviction that zombies must die, we take comfort in seeing the world in manichean terms. Since the zombies are subhuman, we don't have to worry about killing them. And after awhile, we even begin to enjoy the mayhem. (In Resident Evil, zombie-killing is just a gladiator sports.) We can easily feel glib in wanting to see them as target practice. In seeing zombies as 'them' and we humans as 'us', we soon become accustomed to feeling no remorse as we kill them. And then, we might even enjoy killing them. We even forget that these zombies were once humans, the dear loved ones of other humans. Or even our own relatives. Once we develop a us vs them mentality, it's just KILL without remorse or thought. Of course, you yourself could become a zombie if bitten. And then, you would want humans to kill you.. until you become a zombie and then you just want to eat humans. The whole mentality is clearly more pagan than Christian. According to Greeks, being alive was all that mattered. After death, there was no heaven or salvation. Just eternal gloom in Hades. And zombie universe works the same way. Being alive is all matters. So, live it up, and if killing zombies is the name of the game, kill as many until you die.

    When zombies have overwhelming power, they are frightening. But at the end of the movie, the humans are well-organized and well-armed. And zombies are helpless and defenseless. They are so easy to pick off. And this also raises moral questions.
    Can the right thing be the wrong thing when the situation changes? When humans were primitive, they feared tough powerful animals and had to use all their wits and strength to defend themselves from predators. But once humans made weapons and gained mastery over animals(and could easily kill lions, tigers, elephants, and etc), were we the bad guys for using overwhelming force against such animals that suddenly became helpless? Wolves will always be predators, but they no longer pose a threat to us. So, are we the bad guys when we kill them now? Same thing in war. Can good guys become bad guys in war? Take Dresden and Hamburg. True, Nazis were bad guys and had to be defeated. But was it sadistic overkill when defenseless German cities were firebombed and when millions of German women were raped?

    For most of the movie, the zombies are horrifying. The characters are few and outnumbered and they have only one gun. But at the end, the humans are well-organized and they are picking off zombies like shooting ducks. And this may be a commentary on white vs Indians relations too. There was a time when Indians were indeed terrifying to white folks. Consider LAST OF MOHICANS where some of those red fellas send chills down your spine. Or consider the family in THE SEACHERS that get killed. But then, whites gained such mastery over Indians that it turned into a turkey shoot. It's like that movie DEAD MAN -- not my fav -- where we see white men just shoot bison out of trains for the fun of it.
    So, there is necessary kill, and there is overkill. There is defensive violence and there is violence as fun and games. Romero was a strange case because he was a moralist and satirist.. but he also had a fun-and-games streak with gore and violence. He obviously enjoyed all the mayhem even if no one really got killed.

    DAWN tries to be more 'intellectual' with its zombie politics. Even though it begins as humans vs zombies, there is also lots of tensions among humans. And later, we are even made to root for zombies against humans. We first root for humans against zombies in the mall. As we identify with the main characters, we want them to hold the turf. But then, the nasty bikers ruin everything, and we find ourselves rooting for zombies to kill some of these bikers. I guess it's like US siding with Neo-Nazis in Ukraine and Jihadis in Syria. Enemy of your enemy is your friend. We also cheer for Bub in DAY OF THE DEAD. Zombies are neither good nor bad even if terrifying. Only humans can be good or bad, and this raises a question. Are zombies preferable to bad humans? It's like I would rather spare a pig than antifa scum or horrible Merkel.

    https://www.youtube.com/watch?v=ShPsD2kKUeg

    On some level, the redneck stuff was a cheapshot, like in EASY RIDER. I means Pittsburgh and other Democratic cities had tons of race problems too. It was just so easy for urban libs to dump all the blame on rednecks. One thing for sure, Woodstock NY was a nice green place when hayseeds ran it. But when zombie-like drugged out hippies arrived, they turned the whole place into dungville. And druggy zombies at Altamont were worse.

    A notable film talent is Victor Salva. I don't know if he's Italian-American or Spanish-American, but JEEPERS CREEPERS 1 & 2 show astounding filmic talent and imagination. They are trash and plenty vile, but there are memorable moments. And disturbing themes.

    https://en.wikipedia.org/wiki/Victor_Salva

    Salva has a troubled past. He's not only a homo but was convicted of sex crimes. So, while most horror film-makers are just having fun, it seems like Salva is really struggling with inner-demons(or maybe having too much fun with them). There is an interracist angle -- though not very overt -- in both films. In a way, maybe people like Salva need an issue like 'racism' to find some grounding in life.
    We see this in Antifa types. Soul-destroyed people with degenerate view of life.. but so moralistic about the 'Naaaaazis' and 'raaaaacism'.
    Salva's a pervert and much confused. He lacks moral compass. But everyone needs SOME sense of right and wrong. In the past, the default compass was God and Jesus. The reigning neo-religion of our age is PC's obsession with 'racism'. There is now also homo-worship, but Jeepers was made in 1999 and Jeepers 2 came out in 2003 when Homo stuff had yet to reach its apotheosis. So, homo Salva had to grab onto some other theme, and of course, it was 'racism'. In Jeepers one, the homo main character finds the naked bodies of an interracial couple killed by the monster. In part 2, the monster attacks a school bus full of white kids and black kids, and there is racial tension. The monster is ambiguous. He seems to be channeling the dark side of all of humanity. So, horrible as he is, he doesn't discriminate. He is an equal opportunity killer... but he does have cryptic preferences and if he sets his mind on killing a certain somebody, nothing can stop him.
    It's garbage but for the fact that Salva has remarkable style and visual sense that is economic and eccentric.

    And now, there's gonna be 3.

    https://en.wikipedia.org/wiki/Jeepers_Creepers_3

    Jeepers is the sort of movie I'd almost never see on my own as I generally abhor horror, but a friend played that one, Session 9, and Chasing Sleep(with Jeff Daniels), and those three have always been with me like an infection. Hard to shake off. Saw Jeepers 2 only this year, and I didn't much enjoy its racial angle, but it's one helluva film-making. Bang for the buck.
    , @Travis
    Well said. The script was written before they knew a Black man would play the part. George Romero has always stated the film was not intended to make any racial commentary, and I believe him. It is clear that the police would have shot any slow moving human, as they did not expect any survivors in the zombie infested area.
    , @prole
    Thanks for the clip. I agree, it is clear the men were shooting at all humans they encountered, assuming all people in the area were zombies.

    The shooters do not sound like southern rednecks. They are residents of Pittsburgh, not hillbillies.
  52. @celt darnell
    Well, speaking for myself, I just enjoyed Romero's films. Particularly Dawn of the Dead. So I'm just sorry he's gone.

    R.I.P.

    Who cares what the zombies of the NY Times think?

    Well said. Dawn of the Dead is the quintessential zombie film.

    Read More
  53. Anon says: • Disclaimer
    @Mikey Darmody
    Two Jews calling out Whites for being racist? This must be the first ever occurrence of this.

    Also, who initiated this trend of applying critical analysis to mindless pieces of pop-culture? I have to say, it is extremely revelatory to think critically about these apparently pointless works. Never having seen his films, I did not know that George Romero thought about me and my people in a way similar to how the average New York Times theater critic thinks about me and my people. Eye-opening stuff!

    (((A. O. SCOTT))) and (((JASON ZINOMAN)))

    Every. Single. Time.

    Read More
  54. George Romero had zero interest in making any kind of racial commentary in NTLD.

    The black actor was cast purely by happenstance, and the script was written for a truck driver character, that was intended to be white. No changes in the script were made after switching to casting a black actor. George’s racial philosophy was “blacks are the same as whites, so he can play the part without me changing a word of the script.”

    And that’s what he did. There was zero intention for any race commentary in Night of the Living Dead, and anyone who says otherwise is a flat out liar, since Romero has stated the same on more than one occasion, any reporter who has done any research on the movie would be well aware of this. Any reporter writing an essay on the subject would doubtlessly KNOW it was a lie.

    Here’s an interview of Romero that’s fairly recent, debunking any claims to the contrary:

    Read More
  55. Anon says: • Disclaimer
    @Zombie Tim
    Anon Said:

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he’s caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he’s just another zombie. Ironically, his body is treated like the bodies of dead wh
    ite zombies.
     
    Sir, you are batshit crazy!

    1. The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That's what that black guy, or ANYone, would want to know first!

    2. Intending to investigate, while reasonably suspecting there may still be Zombie's in the house, he slowly, quietly unlocks the basement door, and walks cautiously into the living room, with his rifle ready to go. Remember, the last time that living room was occupied, it was packed with Zombie's partying on his cohort's body parts, and endlessly banging on the basement door!

    3. Walking into the kitchen, rifle ready–because Zombies–he walks slowly and cautiously, ready for anything, with a reasonable expectation of having to again shoot flesh-eating Zombies.

    4. The Rednecks notice the shadow of a figure walking slowly–some might say at the pace of a Zombie–towards the window.

    5. Before anyone can be identified on either side, the Redneck takes the shot, as encouraged by his boss. His boss, nor the Redneck state anything explicit, or that implied, that he was knowingly shooting a black guy in the head. Nor, since it was a white rural area in 1968, would any of them even expect to see a black guy in that house!

    The Rednecks were shooting an assumed Zombie, plain and simple!!


    The Moral of the Movie: The best laid plans of Zombie's and men oft go awry!

    For your review:

    https://youtu.be/X6IDNqHuHmE

    The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That’s what that black guy, or ANYone, would want to know first!

    No, it was pretty clear from the all the gunshots, dog barkings, and commotion that the humans were wiping out zombies and taking back the town.

    The final scene was surely meant as a STATEMENT. It did have racial overtones. But it’s all confused. The final scenes are like Holocaust imagery. We see bodies piled atop one another like in those footages. It looks especially sinister because meat hooks are used. It’s confused because zombies are not innocent victims but dangerous killers. On the other hand, they are not evil. They were just doing the only thing they know how. Eat.
    Imagine you’re a Jew hiding from Nazis. But then, zombies take over the town, and you work with some Germans to kill zombies. But you’re the final survivor, and the zombies are being defeated and the town is being cleared… by the SS. Now, you’re in a bind.

    This isn’t to say black experience in the US was anything like WWII, BUT we have to remember that comparisons were often made between black experience and Jewish experience. And KKK, white southerners, and etc. were often conflated with Neo-Nazis and the like. And many people in 68 would have picked up those signals.

    Also, Lynching came to symbolize the worst evil of America. And the humans who exterminate the zombies look like a lynch mob. Now, they are doing what must be done. Zombies must go. But Romero also presents the fun, sportsmanlike side to this. After all, reality is 50% perception. Even if zombies must go, it’s still ugly business. These were once-humans but are now walking dead who eat humans and must be killed. It shouldn’t be fun stuff. But the mob seems to enjoy wiping out the zombies. They seem to treat it like sport or some kind of hunt. They get into the act. It’s like some communities must kill animals that pose a threat to humans or livestock. But what if this necessity is turned into a pastime? It’s like this image I saw in Life compilation magazine. Maybe those foxes needed to be culled as pests, but is it human for people to take pleasure from it?

    http://freefromharm.org/animal-rights/the-boy-and-the-fox-from-beating-to-eating-animals/

    Maybe it was a commentary on war, especially Vietnam War. There are those who see war as necessary evil. But there are others who see war as opportunity to kill and have ‘fun’… like Kilgore in APOCALYSE NOW. “Charlie don’t surf”, so blow them up.

    So, Romero goes for a grey area. Zombies must go, but they are not evil. They are living dead with animal appetites. We root for humans, but some of these humans seem to be almost giddy with fun and thrills as they pile up these bodies. It’s like Zombie Hunting, the Time of the Season. Indeed, this is the difference between those who hunt for meat(or to cull surplus population) and those who hunt for the thrill or fun of watching animals be brutalized or killed.Look at this lunatic. He thinks it’s fun and games to spear a bear just for sports. (But then, you go the Chinese who seem to skin animals alive on an industrial scale. That’s people acting like soul-zombies.)

    But I have problems with the ending of NOTLD because it introduces a whole new theme that was NOT developed throughout the movie. It looks like Romero was reaching for meaning beyond the scope of the movie.

    Also, what happens to the Negro is disturbing in historical and political context. One could say his killing was an ‘innocent’ mistake, and he was just a casualty of friendly fire. But there is a sense that the mob doesn’t really care or may even feel some pleasure in having killed a black guy, zombie or no zombie. The scene is ambiguous, like the ending of BRIDGE OF RIVER KWAI(even though it’s pretty certain Guinness meant to blow it up). FRENCH CONNECTION also ends with the ‘good guy’ killing a fellow cop with whom he often feuds. (The shooting in INSOMNIA is also clouded with uncertainty. An accident, a murder, or a conscious accident but subconscious murder?)

    NOTLD also plays on our cops-and-robbers psychology. It’s almost as if we want the world to be simply divided between two camps. Humans vs zombies. Zombies are so irredeemable(even if not evil) that they must be killed. NOTLD plays on two levels. It leaves us no choice but to root for humans who are killing the zombies. But in our conviction that zombies must die, we take comfort in seeing the world in manichean terms. Since the zombies are subhuman, we don’t have to worry about killing them. And after awhile, we even begin to enjoy the mayhem. (In Resident Evil, zombie-killing is just a gladiator sports.) We can easily feel glib in wanting to see them as target practice. In seeing zombies as ‘them’ and we humans as ‘us’, we soon become accustomed to feeling no remorse as we kill them. And then, we might even enjoy killing them. We even forget that these zombies were once humans, the dear loved ones of other humans. Or even our own relatives. Once we develop a us vs them mentality, it’s just KILL without remorse or thought. Of course, you yourself could become a zombie if bitten. And then, you would want humans to kill you.. until you become a zombie and then you just want to eat humans. The whole mentality is clearly more pagan than Christian. According to Greeks, being alive was all that mattered. After death, there was no heaven or salvation. Just eternal gloom in Hades. And zombie universe works the same way. Being alive is all matters. So, live it up, and if killing zombies is the name of the game, kill as many until you die.

    When zombies have overwhelming power, they are frightening. But at the end of the movie, the humans are well-organized and well-armed. And zombies are helpless and defenseless. They are so easy to pick off. And this also raises moral questions.
    Can the right thing be the wrong thing when the situation changes? When humans were primitive, they feared tough powerful animals and had to use all their wits and strength to defend themselves from predators. But once humans made weapons and gained mastery over animals(and could easily kill lions, tigers, elephants, and etc), were we the bad guys for using overwhelming force against such animals that suddenly became helpless? Wolves will always be predators, but they no longer pose a threat to us. So, are we the bad guys when we kill them now? Same thing in war. Can good guys become bad guys in war? Take Dresden and Hamburg. True, Nazis were bad guys and had to be defeated. But was it sadistic overkill when defenseless German cities were firebombed and when millions of German women were raped?

    For most of the movie, the zombies are horrifying. The characters are few and outnumbered and they have only one gun. But at the end, the humans are well-organized and they are picking off zombies like shooting ducks. And this may be a commentary on white vs Indians relations too. There was a time when Indians were indeed terrifying to white folks. Consider LAST OF MOHICANS where some of those red fellas send chills down your spine. Or consider the family in THE SEACHERS that get killed. But then, whites gained such mastery over Indians that it turned into a turkey shoot. It’s like that movie DEAD MAN — not my fav — where we see white men just shoot bison out of trains for the fun of it.
    So, there is necessary kill, and there is overkill. There is defensive violence and there is violence as fun and games. Romero was a strange case because he was a moralist and satirist.. but he also had a fun-and-games streak with gore and violence. He obviously enjoyed all the mayhem even if no one really got killed.

    DAWN tries to be more ‘intellectual’ with its zombie politics. Even though it begins as humans vs zombies, there is also lots of tensions among humans. And later, we are even made to root for zombies against humans. We first root for humans against zombies in the mall. As we identify with the main characters, we want them to hold the turf. But then, the nasty bikers ruin everything, and we find ourselves rooting for zombies to kill some of these bikers. I guess it’s like US siding with Neo-Nazis in Ukraine and Jihadis in Syria. Enemy of your enemy is your friend. We also cheer for Bub in DAY OF THE DEAD. Zombies are neither good nor bad even if terrifying. Only humans can be good or bad, and this raises a question. Are zombies preferable to bad humans? It’s like I would rather spare a pig than antifa scum or horrible Merkel.

    On some level, the redneck stuff was a cheapshot, like in EASY RIDER. I means Pittsburgh and other Democratic cities had tons of race problems too. It was just so easy for urban libs to dump all the blame on rednecks. One thing for sure, Woodstock NY was a nice green place when hayseeds ran it. But when zombie-like drugged out hippies arrived, they turned the whole place into dungville. And druggy zombies at Altamont were worse.

    A notable film talent is Victor Salva. I don’t know if he’s Italian-American or Spanish-American, but JEEPERS CREEPERS 1 & 2 show astounding filmic talent and imagination. They are trash and plenty vile, but there are memorable moments. And disturbing themes.

    https://en.wikipedia.org/wiki/Victor_Salva

    Salva has a troubled past. He’s not only a homo but was convicted of sex crimes. So, while most horror film-makers are just having fun, it seems like Salva is really struggling with inner-demons(or maybe having too much fun with them). There is an interracist angle — though not very overt — in both films. In a way, maybe people like Salva need an issue like ‘racism’ to find some grounding in life.
    We see this in Antifa types. Soul-destroyed people with degenerate view of life.. but so moralistic about the ‘Naaaaazis’ and ‘raaaaacism’.
    Salva’s a pervert and much confused. He lacks moral compass. But everyone needs SOME sense of right and wrong. In the past, the default compass was God and Jesus. The reigning neo-religion of our age is PC’s obsession with ‘racism’. There is now also homo-worship, but Jeepers was made in 1999 and Jeepers 2 came out in 2003 when Homo stuff had yet to reach its apotheosis. So, homo Salva had to grab onto some other theme, and of course, it was ‘racism’. In Jeepers one, the homo main character finds the naked bodies of an interracial couple killed by the monster. In part 2, the monster attacks a school bus full of white kids and black kids, and there is racial tension. The monster is ambiguous. He seems to be channeling the dark side of all of humanity. So, horrible as he is, he doesn’t discriminate. He is an equal opportunity killer… but he does have cryptic preferences and if he sets his mind on killing a certain somebody, nothing can stop him.
    It’s garbage but for the fact that Salva has remarkable style and visual sense that is economic and eccentric.

    And now, there’s gonna be 3.

    https://en.wikipedia.org/wiki/Jeepers_Creepers_3

    Jeepers is the sort of movie I’d almost never see on my own as I generally abhor horror, but a friend played that one, Session 9, and Chasing Sleep(with Jeff Daniels), and those three have always been with me like an infection. Hard to shake off. Saw Jeepers 2 only this year, and I didn’t much enjoy its racial angle, but it’s one helluva film-making. Bang for the buck.

    Read More
    • Replies: @Autochthon

    [M]illions of German women were raped?
     
    Millions of German women were raped? Millions? By Russians, perhaps? Even, then, I should like to know more of the evidence....
  56. Romanian says: • Website
    @Anonymous
    "I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies) and is destroyed."

    I suspect the Mafia these days probably find something else besides the Grey Lady to wrap their Sicilian Messages in. With this much idiocy, they'd be embarrassed that someone might think they actually read it.

    Would that line be acceptable if they switched the races?

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  57. Anon says: • Disclaimer
    @James Braxton
    Night of the Living Dead is actually pretty funny. The whole movie is an argument between a charismatic black guy, who thinks everyone in the house should try to make a run for it, and an unattractive white guy, who thinks they should hunker down and fight.

    The black guy prevails and ends up getting everyone killed but himself. He then runs back in the house and barricades himself like the white guy wanted to do all along and lives until accidentally being shot by the rescue party.

    The lesson, beware the affirmative action case who seems polished, but has no idea how the world works.

    Night of the Living Dead is actually pretty funny.

    For meit was funny for a different reason.

    I first DAWN then caught NIGHT a year or two later. It was late-night showing, and I found it pretty grim and scary.

    It was later when I saw a college screening that the whole thing became a hoot. The audience just wanted to have a good time and laugh, and there was plenty to laugh at if one wanted to go that way. I began to notice all the flaws that I’d ignored yrs ago on TV. The amateurish acting, simple-minded script, the goofy personalities, the fake news on TV. But best of all, the film’s sound got out of sync made it even more anarchic, near surreal.
    Some when the black guy was hammering nails, it’d be silent when the hammer struck and then go ‘thud’. It was even funnier with gunshots. Or when characters began to shout.

    But for nonstop laugh riot at college screening, nothing beats Phantasm.

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    • Replies: @Anon
    This is pretty funny review

    http://articles.chicagotribune.com/1988-07-08/entertainment/8801130543_1_coscarelli-phantasm-ii-paula-irvine

    Coscarelli, presumably another Italian-American.

    Italy gave us SUSPIRIA, a cult classic among some.
    Italy also gave us spaghetti westerns.

    Something about Italians...

  58. lavoisier says: • Website

    I actually feel sorry for you Steve. You are constantly exposed to hypocrisy and sanctimonious fools expressing this kind of hateful nonsense.

    It must be hard to be willing to tackle difficult issues from a thoughtful perspective while being ignored by the mainstream and seeing ubiquitous fools like these movie critics celebrated as intellectuals.

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  59. lavoisier says: • Website
    @anonymous-antimarxist

    am I right to assume A.O. Scott and Jason Zinoman come from Muslim backgrounds?

     

    Nope!!!

    Guess Again!!!
    Anthony Oliver Scott
    https://en.wikipedia.org/wiki/A._O._Scott

    He is a great nephew of the married acting couple Eli Wallach and Anne Jackson (his maternal grandfather was Eli's brother).[3] Scott is Jewish on his mother's side.[4]
     
    Mother
    https://en.wikipedia.org/wiki/Joan_Wallach_Scott

    She was born Joan Wallach in Brooklyn, New York, the daughter of Lottie (née Tannenbaum) and Sam Wallach, high school teachers.[4][5] Her family was Jewish, and her father was born in Dolina, Poland.[6] During the Red Scare, her father, who had been active in various left-wing causes, was fired for refusing to cooperate with an investigation into activities of the American Communist Party, an event that helped to seal his daughter's sympathy with the left.[7] She graduated from Brandeis in 1962 and received her PhD from the University of Wisconsin–Madison in 1969.
     
    DING DING DING --- 3rd Generation Red Diaper Baby!!!

    Did you honestly expect anything less???

    The absurdity of the nonsense made your prediction predictable.

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  60. David says:
    @syonredux

    But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones. No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.
     
    Of course, Romero always claimed that the script was not written with a Black actor in mind.Duane Jones simply had the best audition.....

    I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies)
     
    Actually, the Black guy ends up surviving the longest by using the White guy's plan....

    Harry demands that everyone hide in the cellar, but Ben [the Black guy] deems it a "deathtrap" and continues upstairs, to barricade the house with Tom's help.
     

    As the zombies overrun the house, Ben fights off Karen and seals himself inside the cellar, where Harry and Helen are reanimating, and he is forced to shoot them.

     

    https://en.wikipedia.org/wiki/Night_of_the_Living_Dead#Plot

    and is destroyed.
     
    Ah, I remember the heady days when White Liberals had fantasies about Obama (too good, too pure for this cis-lunar world) dying at the hands of redneck racists.....

    Yesterday we got uber-woke and today cis-lunar. Thanks.

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  61. MarcB. says:

    I never understood all the fuss over Night of the Living Dead, and could never make past the first five minutes. It remained precious within alt culture through the 1990′s.

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  62. @Autochthon
    These kinds of idiots always impute their daffy hang-ups to art, even when the artist himself is standing beside them screaming "That's not true; that wasn't what I did, what I meant, or how it happened. I'm right here; I can hear you!" All the while the bloviator steps in front of the artists and increases the volume of his tirade.

    It happened with Romero and race, Tolkien and nuclear power, Dick and drugs, Carroll and pedophilia, Heinlein and religion, Camus and colonialism, and on and on. Projection is tiresome, hence artistic and literary criticism is by and large garbage – our humble host excluded, of course; and that's not just toadying; he does something a bit different and more useful, typically focusing on technical execution rather than imagined subliminal messages. To write that The Lamb Lies Down on Broadway contains evocative lyrics, challenging melodic structures, and irregular time signatures that make it worth listening to is indisputable and noteworthy, it is useful criticism that guides a reader's decisions about his budget of time and money for music with an informed judgement; to drone on about one's pet theories regarding the symbolism of Rael's adventures probably less so...).

    Those who can, do; those who cannot, teach; those who can't even, critique.

    “Those who can, do; those who cannot, teach; those who can’t even, critique.”

    Outstanding!

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  63. @Anon
    The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That’s what that black guy, or ANYone, would want to know first!

    No, it was pretty clear from the all the gunshots, dog barkings, and commotion that the humans were wiping out zombies and taking back the town.

    The final scene was surely meant as a STATEMENT. It did have racial overtones. But it's all confused. The final scenes are like Holocaust imagery. We see bodies piled atop one another like in those footages. It looks especially sinister because meat hooks are used. It's confused because zombies are not innocent victims but dangerous killers. On the other hand, they are not evil. They were just doing the only thing they know how. Eat.
    Imagine you're a Jew hiding from Nazis. But then, zombies take over the town, and you work with some Germans to kill zombies. But you're the final survivor, and the zombies are being defeated and the town is being cleared... by the SS. Now, you're in a bind.

    This isn't to say black experience in the US was anything like WWII, BUT we have to remember that comparisons were often made between black experience and Jewish experience. And KKK, white southerners, and etc. were often conflated with Neo-Nazis and the like. And many people in 68 would have picked up those signals.

    Also, Lynching came to symbolize the worst evil of America. And the humans who exterminate the zombies look like a lynch mob. Now, they are doing what must be done. Zombies must go. But Romero also presents the fun, sportsmanlike side to this. After all, reality is 50% perception. Even if zombies must go, it's still ugly business. These were once-humans but are now walking dead who eat humans and must be killed. It shouldn't be fun stuff. But the mob seems to enjoy wiping out the zombies. They seem to treat it like sport or some kind of hunt. They get into the act. It's like some communities must kill animals that pose a threat to humans or livestock. But what if this necessity is turned into a pastime? It's like this image I saw in Life compilation magazine. Maybe those foxes needed to be culled as pests, but is it human for people to take pleasure from it?

    http://freefromharm.org/animal-rights/the-boy-and-the-fox-from-beating-to-eating-animals/

    Maybe it was a commentary on war, especially Vietnam War. There are those who see war as necessary evil. But there are others who see war as opportunity to kill and have 'fun'... like Kilgore in APOCALYSE NOW. "Charlie don't surf", so blow them up.

    So, Romero goes for a grey area. Zombies must go, but they are not evil. They are living dead with animal appetites. We root for humans, but some of these humans seem to be almost giddy with fun and thrills as they pile up these bodies. It's like Zombie Hunting, the Time of the Season. Indeed, this is the difference between those who hunt for meat(or to cull surplus population) and those who hunt for the thrill or fun of watching animals be brutalized or killed.Look at this lunatic. He thinks it's fun and games to spear a bear just for sports. (But then, you go the Chinese who seem to skin animals alive on an industrial scale. That's people acting like soul-zombies.)

    https://www.youtube.com/watch?v=vVR4wFtRg74

    But I have problems with the ending of NOTLD because it introduces a whole new theme that was NOT developed throughout the movie. It looks like Romero was reaching for meaning beyond the scope of the movie.

    Also, what happens to the Negro is disturbing in historical and political context. One could say his killing was an 'innocent' mistake, and he was just a casualty of friendly fire. But there is a sense that the mob doesn't really care or may even feel some pleasure in having killed a black guy, zombie or no zombie. The scene is ambiguous, like the ending of BRIDGE OF RIVER KWAI(even though it's pretty certain Guinness meant to blow it up). FRENCH CONNECTION also ends with the 'good guy' killing a fellow cop with whom he often feuds. (The shooting in INSOMNIA is also clouded with uncertainty. An accident, a murder, or a conscious accident but subconscious murder?)

    NOTLD also plays on our cops-and-robbers psychology. It's almost as if we want the world to be simply divided between two camps. Humans vs zombies. Zombies are so irredeemable(even if not evil) that they must be killed. NOTLD plays on two levels. It leaves us no choice but to root for humans who are killing the zombies. But in our conviction that zombies must die, we take comfort in seeing the world in manichean terms. Since the zombies are subhuman, we don't have to worry about killing them. And after awhile, we even begin to enjoy the mayhem. (In Resident Evil, zombie-killing is just a gladiator sports.) We can easily feel glib in wanting to see them as target practice. In seeing zombies as 'them' and we humans as 'us', we soon become accustomed to feeling no remorse as we kill them. And then, we might even enjoy killing them. We even forget that these zombies were once humans, the dear loved ones of other humans. Or even our own relatives. Once we develop a us vs them mentality, it's just KILL without remorse or thought. Of course, you yourself could become a zombie if bitten. And then, you would want humans to kill you.. until you become a zombie and then you just want to eat humans. The whole mentality is clearly more pagan than Christian. According to Greeks, being alive was all that mattered. After death, there was no heaven or salvation. Just eternal gloom in Hades. And zombie universe works the same way. Being alive is all matters. So, live it up, and if killing zombies is the name of the game, kill as many until you die.

    When zombies have overwhelming power, they are frightening. But at the end of the movie, the humans are well-organized and well-armed. And zombies are helpless and defenseless. They are so easy to pick off. And this also raises moral questions.
    Can the right thing be the wrong thing when the situation changes? When humans were primitive, they feared tough powerful animals and had to use all their wits and strength to defend themselves from predators. But once humans made weapons and gained mastery over animals(and could easily kill lions, tigers, elephants, and etc), were we the bad guys for using overwhelming force against such animals that suddenly became helpless? Wolves will always be predators, but they no longer pose a threat to us. So, are we the bad guys when we kill them now? Same thing in war. Can good guys become bad guys in war? Take Dresden and Hamburg. True, Nazis were bad guys and had to be defeated. But was it sadistic overkill when defenseless German cities were firebombed and when millions of German women were raped?

    For most of the movie, the zombies are horrifying. The characters are few and outnumbered and they have only one gun. But at the end, the humans are well-organized and they are picking off zombies like shooting ducks. And this may be a commentary on white vs Indians relations too. There was a time when Indians were indeed terrifying to white folks. Consider LAST OF MOHICANS where some of those red fellas send chills down your spine. Or consider the family in THE SEACHERS that get killed. But then, whites gained such mastery over Indians that it turned into a turkey shoot. It's like that movie DEAD MAN -- not my fav -- where we see white men just shoot bison out of trains for the fun of it.
    So, there is necessary kill, and there is overkill. There is defensive violence and there is violence as fun and games. Romero was a strange case because he was a moralist and satirist.. but he also had a fun-and-games streak with gore and violence. He obviously enjoyed all the mayhem even if no one really got killed.

    DAWN tries to be more 'intellectual' with its zombie politics. Even though it begins as humans vs zombies, there is also lots of tensions among humans. And later, we are even made to root for zombies against humans. We first root for humans against zombies in the mall. As we identify with the main characters, we want them to hold the turf. But then, the nasty bikers ruin everything, and we find ourselves rooting for zombies to kill some of these bikers. I guess it's like US siding with Neo-Nazis in Ukraine and Jihadis in Syria. Enemy of your enemy is your friend. We also cheer for Bub in DAY OF THE DEAD. Zombies are neither good nor bad even if terrifying. Only humans can be good or bad, and this raises a question. Are zombies preferable to bad humans? It's like I would rather spare a pig than antifa scum or horrible Merkel.

    https://www.youtube.com/watch?v=ShPsD2kKUeg

    On some level, the redneck stuff was a cheapshot, like in EASY RIDER. I means Pittsburgh and other Democratic cities had tons of race problems too. It was just so easy for urban libs to dump all the blame on rednecks. One thing for sure, Woodstock NY was a nice green place when hayseeds ran it. But when zombie-like drugged out hippies arrived, they turned the whole place into dungville. And druggy zombies at Altamont were worse.

    A notable film talent is Victor Salva. I don't know if he's Italian-American or Spanish-American, but JEEPERS CREEPERS 1 & 2 show astounding filmic talent and imagination. They are trash and plenty vile, but there are memorable moments. And disturbing themes.

    https://en.wikipedia.org/wiki/Victor_Salva

    Salva has a troubled past. He's not only a homo but was convicted of sex crimes. So, while most horror film-makers are just having fun, it seems like Salva is really struggling with inner-demons(or maybe having too much fun with them). There is an interracist angle -- though not very overt -- in both films. In a way, maybe people like Salva need an issue like 'racism' to find some grounding in life.
    We see this in Antifa types. Soul-destroyed people with degenerate view of life.. but so moralistic about the 'Naaaaazis' and 'raaaaacism'.
    Salva's a pervert and much confused. He lacks moral compass. But everyone needs SOME sense of right and wrong. In the past, the default compass was God and Jesus. The reigning neo-religion of our age is PC's obsession with 'racism'. There is now also homo-worship, but Jeepers was made in 1999 and Jeepers 2 came out in 2003 when Homo stuff had yet to reach its apotheosis. So, homo Salva had to grab onto some other theme, and of course, it was 'racism'. In Jeepers one, the homo main character finds the naked bodies of an interracial couple killed by the monster. In part 2, the monster attacks a school bus full of white kids and black kids, and there is racial tension. The monster is ambiguous. He seems to be channeling the dark side of all of humanity. So, horrible as he is, he doesn't discriminate. He is an equal opportunity killer... but he does have cryptic preferences and if he sets his mind on killing a certain somebody, nothing can stop him.
    It's garbage but for the fact that Salva has remarkable style and visual sense that is economic and eccentric.

    And now, there's gonna be 3.

    https://en.wikipedia.org/wiki/Jeepers_Creepers_3

    Jeepers is the sort of movie I'd almost never see on my own as I generally abhor horror, but a friend played that one, Session 9, and Chasing Sleep(with Jeff Daniels), and those three have always been with me like an infection. Hard to shake off. Saw Jeepers 2 only this year, and I didn't much enjoy its racial angle, but it's one helluva film-making. Bang for the buck.

    [M]illions of German women were raped?

    Millions of German women were raped? Millions? By Russians, perhaps? Even, then, I should like to know more of the evidence….

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    • Replies: @Anon
    The estimates I read was that 2 million German women were raped by Soviets.

    There were rapes by Americans and others too, but Soviets took the cake on this.

    Now, I have no idea how many were really raped. Maybe it was in the 100,000's.

    I just go by what's been written by historians.

    https://en.wikipedia.org/wiki/Rape_during_the_occupation_of_Germany

    The majority of the assaults were committed in the Soviet occupation zone; estimates of the numbers of German women raped by Soviet soldiers have ranged up to 2 million.[8][9][10][11][12]

    , @Hippopotamusdrome
    I should like to know more of the evidence….

    Evidence is they raped anything they could their hands on.

    Jews in concentration camps:

    Ravensbrück : everyday life in a women's concentration camp by Morrison, Jack G.
    ... When Soviet forces liberated the subcamp at Neustadt-Glewe, "they raped all the women and girls: Jewish, Hungarian, German-it didn't matter." A group of Jewish women from this subcamp believed that their emaciated condition (they weighed on average only 30 kg/66 lbs) would be a deterrent. It was not.

     

    Fellow Russians in labor camps:

    The Red Army's Rape of Europe
    ... The Red Army’s men repeatedly raped liberated Russian female forced laborers. When the Red Army captured the Ravensbruck concentration camp, located 50 miles north of Berlin, Soviet soldiers gang-raped the surviving emaciated female concentration camp victims. Even teenage girls hailing from the western Soviet Union were not immune. The Russian archives detail these mass assaults, as reported by the deputy chief of the political department from the 1st Ukrainian Front, by members of the Red Army upon Russian, Ukrainian, and Byelorussian women.

    “... the night of February 14-15 in one of the villages where the cattle are herded a shtraf company under the command of a senior lieutenant surrounded the village and shot the Red Army soldiers who where on guard there. They went to the women’s dormitory and started their organized mass rape of the women, who had just been liberated by the Red Army.”

     

  64. Romanian says: • Website
    @newrouter
    What fun to read about a yinzer(Pgh) movie director. So much for that culture these days what with gypsies/roma:

    Romanians seeking asylum are in California, Pa. as part of U.S. Immigration program

    http://www.post-gazette.com/local/south/2017/07/14/California-Pa-residents-want-answers-about-Romanian-immigrants/stories/201707140150

    I’m torn between suing the Post for damage to the national brand and kissing them for subtly advocating for taking in the freeloaders. The whole Roma thing has dragged the Romanian name through the mud. I’ll err on the side of principle and still call them and the enablers of this migration traitors. The article is full of iSteve material. A few examples:

    The Romanians, who said they came to America to escape persecution in their Bucharest-area homes, have been processed through U.S. Immigration and Customs Enforcement and have been released as part of the government’s Alternative to Detention program, which monitors flight from other nations.
    …..
    But the Romanians, nearly all of whom are renting apartments from local real estate agent Vito Dentino
    ………
    Ali George, 24, a native of Bucharest, said they were drawn to California by the same things that might attract anyone — a friendly, inexpensive place to live. Many in their group are related; others knew each other back in Bucharest.

    We left our country, not because we are poor,” said a friend of Mr. George, who did not want to give his name. “We left because of racism and we’re seeking political asylum.”

    The effing nerve, to ask for asylum from goddamn Bucharest of all places, epicenter of Romanian liberalism. Persecution? The Roma mobsters are filthy rich and control politicians. The brother of the former President is in jail because of influence peddling on behalf of a Gypsy mob boss (whose nephew, Mercedes, was building a house near mine in my hometown before he went to jail or something). The Roma poor disproportionately benefit from whatever welfare and affirmative action we can cobble together and are an important block vote for the socialist party currently ruining the nation fiscally.

    I’m also torn between berating them for still being an almost distinct race 800 years after sashaying in (which allows them to claim racism today) and thanking them for remaining mostly endogamous. Also, that last part screams illegal stuff (not necessarily violence, but mass theft of cables, piping, railway tracks etc, vice peddling). If they were well off through legitimate means, they would have no trouble fitting in as middle class folk, with all of the Arabs and Turks and swarthier Romanians.

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  65. Anon says: • Disclaimer
    @Autochthon

    [M]illions of German women were raped?
     
    Millions of German women were raped? Millions? By Russians, perhaps? Even, then, I should like to know more of the evidence....

    The estimates I read was that 2 million German women were raped by Soviets.

    There were rapes by Americans and others too, but Soviets took the cake on this.

    Now, I have no idea how many were really raped. Maybe it was in the 100,000′s.

    I just go by what’s been written by historians.

    https://en.wikipedia.org/wiki/Rape_during_the_occupation_of_Germany


    The majority of the assaults were committed in the Soviet occupation zone; estimates of the numbers of German women raped by Soviet soldiers have ranged up to 2 million.[8][9][10][11][12]

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    • Replies: @anonymous
    If I remember correctly, by rape ratings numbers (lower is better):

    1. Brit sector
    2. American sector
    3. French sector
    4. Soviet sector

    Mitigating fact (for the Germans): One of the last battalions left fighting the Soviets to protect Central Berlin and Hitler's bunker were French nationals. Tens of thousands of french volunteers served in the German Wehrmacht, and later the Waffen SS and auxiliary units. France enjoyed the largest western European force to join the Germans. Politics aside, it must be admitted that a French national, fighting the Soviets, alongside Germans, in Central Berlin in May of 1945 is pretty damned badass.
  66. Anon says: • Disclaimer
    @syonredux

    But what was and remains truly unsettling is the violence of the white law enforcement toward the black hero, played by Duane Jones. No horror movie seemed to take on racism with as much visceral force, until this year, with “Get Out.” And Mr. Romero’s movie is even bleaker.
     
    Of course, Romero always claimed that the script was not written with a Black actor in mind.Duane Jones simply had the best audition.....

    I hinted that the Jones character’s death could be read as a prophecy of Barack Obama’s presidency: A calm and competent African-American saves the white people from their own rashness and stupidity (as well as from zombies)
     
    Actually, the Black guy ends up surviving the longest by using the White guy's plan....

    Harry demands that everyone hide in the cellar, but Ben [the Black guy] deems it a "deathtrap" and continues upstairs, to barricade the house with Tom's help.
     

    As the zombies overrun the house, Ben fights off Karen and seals himself inside the cellar, where Harry and Helen are reanimating, and he is forced to shoot them.

     

    https://en.wikipedia.org/wiki/Night_of_the_Living_Dead#Plot

    and is destroyed.
     
    Ah, I remember the heady days when White Liberals had fantasies about Obama (too good, too pure for this cis-lunar world) dying at the hands of redneck racists.....

    Actually, the Black guy ends up surviving the longest by using the White guy’s plan…

    It’s funny how Archie and Zaius were actually right.

    Both POTA and NOTLD toy with identity-morality. Nobility of Victimhood depends on context. Taylor is the victim who gains our sympathy in ape world, but in ESCAPE, we feel for the apes even though we know that that Callahan-Buckley is right.

    Interesting that Zaius invokes religion to denounce humans whereas Callahan-Buckley invokes science to warn of apes. Both fail because of soft ‘swedish’ hearts.

    https://www.youtube.com/watch?v=YuytpQT6gW4

    Also, POTA movies hint at how ‘progressive’ and ‘egalitarian’ politics is actually driven by admiration for superiority. The chimps would never have cared about Taylor if he were a dumb inferior human like the rest. The thing is he proved he’s not only smart but even smarter and more resourceful than apes.

    And in CONQUEST, Caesar proves himself smarter and more cunning than humans and pulls off a revolution with a bunch of banana goons.

    Progs love the Great Man or Great People. They are just looking for new messiahs.

    Homos are extra-creative and Negroes are extra-athletic, and it is those superior qualities that have made them the darlings of progs who really don’t care about most peoples and their problems.
    I mean who cares about Uighurs?

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  67. Z-man says:

    What do expect from those NYT types. AO Scot is a Jew after all.

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  68. Travis says:
    @Zombie Tim
    Anon Said:

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he’s caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he’s just another zombie. Ironically, his body is treated like the bodies of dead wh
    ite zombies.
     
    Sir, you are batshit crazy!

    1. The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That's what that black guy, or ANYone, would want to know first!

    2. Intending to investigate, while reasonably suspecting there may still be Zombie's in the house, he slowly, quietly unlocks the basement door, and walks cautiously into the living room, with his rifle ready to go. Remember, the last time that living room was occupied, it was packed with Zombie's partying on his cohort's body parts, and endlessly banging on the basement door!

    3. Walking into the kitchen, rifle ready–because Zombies–he walks slowly and cautiously, ready for anything, with a reasonable expectation of having to again shoot flesh-eating Zombies.

    4. The Rednecks notice the shadow of a figure walking slowly–some might say at the pace of a Zombie–towards the window.

    5. Before anyone can be identified on either side, the Redneck takes the shot, as encouraged by his boss. His boss, nor the Redneck state anything explicit, or that implied, that he was knowingly shooting a black guy in the head. Nor, since it was a white rural area in 1968, would any of them even expect to see a black guy in that house!

    The Rednecks were shooting an assumed Zombie, plain and simple!!


    The Moral of the Movie: The best laid plans of Zombie's and men oft go awry!

    For your review:

    https://youtu.be/X6IDNqHuHmE

    Well said. The script was written before they knew a Black man would play the part. George Romero has always stated the film was not intended to make any racial commentary, and I believe him. It is clear that the police would have shot any slow moving human, as they did not expect any survivors in the zombie infested area.

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    • Replies: @Anon
    The script was written before they knew a Black man would play the part.

    Here's the thing. Even if Romero was being 100% honest, the fact that a black guy is in the lead makes it racial. Not by intention but by presentation. Also, there are racial styles and personalities. A black guy brings a different style to the performance. For instance, if Duane had been played by Puerto Rican guy and if Archie had been played by a black guy(George Jefferson or Fred G. Sanford), it would have taken on different racial overtones. It would have been like Fred vs Julio.

    https://www.youtube.com/watch?v=IA-PRRfjed8

    A work, especially a collaborative medium like cinema, is more than what the writer/director originally intended. The casting can change the original meaning, and there is no way that Romero didn't notice a racial angle as the production progressed. Often, an artist discovers more about the work and its possible meanings as he works on it. It could start one way but then end up in another. Leone originally wanted Henry Fonda or Bronson for the Dollars movie. The result would have been considerably different. Leone, working with Eastwood, found new ideas and meanings that might not have been there with another actor.
    Also, there is no way the audience is not going to see color. If the black guy had been white guy, the shooting at the end would have take on a different meaning.

    So, even if Romero was being sincere, it doesn't matter. People will always notice race in NOTLD since it is just there. We are not gonna see the black guy as just a character who happens to be black.

    Also, the racial element in Knight Riders, Dawn, and Day of the Dead suggest Romero always had racial relations and tensions in mind. There are lots of role reversals.
    , @actual
    Owing to american black culture having zero tolerance for occult or dark, otherworldly phenomena, an average american black person would be the last person a zombie hunter would expect to come across in a potentially zombie infested house.

    In the environment as presented by Mr. Romero, they would more likely to encounter a leprechaun, than an atypical black person who was awake, and fully functional. American blacks will tough out any natural disaster as well or better than anyone else, but add a ghost or zombie, and the game shifts dramatically. In american black culture, zombies and ghosts are not a negotiable issue.

    The funniest, and most successful comedy of the year yet to be made, would be a reboot of NTLD, with the race ratio reversed. :

    https://www.youtube.com/watch?v=muGJ7BLKLws

    https://www.youtube.com/watch?v=InLfUMjyKNo

    https://www.youtube.com/watch?v=Ts45j7SkYCk

  69. I relish, result in I discovered just what I was
    taking a look for. You have ended my four day long hunt!

    God Bless you man. Have a nice day. Bye

    Read More
  70. Anon says: • Disclaimer
    @Anon
    Night of the Living Dead is actually pretty funny.

    For meit was funny for a different reason.

    I first DAWN then caught NIGHT a year or two later. It was late-night showing, and I found it pretty grim and scary.

    It was later when I saw a college screening that the whole thing became a hoot. The audience just wanted to have a good time and laugh, and there was plenty to laugh at if one wanted to go that way. I began to notice all the flaws that I'd ignored yrs ago on TV. The amateurish acting, simple-minded script, the goofy personalities, the fake news on TV. But best of all, the film's sound got out of sync made it even more anarchic, near surreal.
    Some when the black guy was hammering nails, it'd be silent when the hammer struck and then go 'thud'. It was even funnier with gunshots. Or when characters began to shout.

    But for nonstop laugh riot at college screening, nothing beats Phantasm.

    https://www.youtube.com/watch?v=39zC_hYKm-8

    This is pretty funny review

    http://articles.chicagotribune.com/1988-07-08/entertainment/8801130543_1_coscarelli-phantasm-ii-paula-irvine

    Coscarelli, presumably another Italian-American.

    Italy gave us SUSPIRIA, a cult classic among some.
    Italy also gave us spaghetti westerns.

    Something about Italians…

    Read More
  71. Anon says: • Disclaimer
    @Travis
    Well said. The script was written before they knew a Black man would play the part. George Romero has always stated the film was not intended to make any racial commentary, and I believe him. It is clear that the police would have shot any slow moving human, as they did not expect any survivors in the zombie infested area.

    The script was written before they knew a Black man would play the part.

    Here’s the thing. Even if Romero was being 100% honest, the fact that a black guy is in the lead makes it racial. Not by intention but by presentation. Also, there are racial styles and personalities. A black guy brings a different style to the performance. For instance, if Duane had been played by Puerto Rican guy and if Archie had been played by a black guy(George Jefferson or Fred G. Sanford), it would have taken on different racial overtones. It would have been like Fred vs Julio.

    https://www.youtube.com/watch?v=IA-PRRfjed8

    A work, especially a collaborative medium like cinema, is more than what the writer/director originally intended. The casting can change the original meaning, and there is no way that Romero didn’t notice a racial angle as the production progressed. Often, an artist discovers more about the work and its possible meanings as he works on it. It could start one way but then end up in another. Leone originally wanted Henry Fonda or Bronson for the Dollars movie. The result would have been considerably different. Leone, working with Eastwood, found new ideas and meanings that might not have been there with another actor.
    Also, there is no way the audience is not going to see color. If the black guy had been white guy, the shooting at the end would have take on a different meaning.

    So, even if Romero was being sincere, it doesn’t matter. People will always notice race in NOTLD since it is just there. We are not gonna see the black guy as just a character who happens to be black.

    Also, the racial element in Knight Riders, Dawn, and Day of the Dead suggest Romero always had racial relations and tensions in mind. There are lots of role reversals.

    Read More
  72. anonymous says: • Disclaimer
    @Anon
    The estimates I read was that 2 million German women were raped by Soviets.

    There were rapes by Americans and others too, but Soviets took the cake on this.

    Now, I have no idea how many were really raped. Maybe it was in the 100,000's.

    I just go by what's been written by historians.

    https://en.wikipedia.org/wiki/Rape_during_the_occupation_of_Germany

    The majority of the assaults were committed in the Soviet occupation zone; estimates of the numbers of German women raped by Soviet soldiers have ranged up to 2 million.[8][9][10][11][12]

    If I remember correctly, by rape ratings numbers (lower is better):

    1. Brit sector
    2. American sector
    3. French sector
    4. Soviet sector

    Mitigating fact (for the Germans): One of the last battalions left fighting the Soviets to protect Central Berlin and Hitler’s bunker were French nationals. Tens of thousands of french volunteers served in the German Wehrmacht, and later the Waffen SS and auxiliary units. France enjoyed the largest western European force to join the Germans. Politics aside, it must be admitted that a French national, fighting the Soviets, alongside Germans, in Central Berlin in May of 1945 is pretty damned badass.

    Read More
    • Replies: @Anon
    Politics aside, it must be admitted that a French national, fighting the Soviets, alongside Germans, in Central Berlin in May of 1945 is pretty damned badass.

    Funny. French are better at fighting for foreigners than for their own nation.

    Look at the American Revolution.
  73. actual says:
    @Travis
    Well said. The script was written before they knew a Black man would play the part. George Romero has always stated the film was not intended to make any racial commentary, and I believe him. It is clear that the police would have shot any slow moving human, as they did not expect any survivors in the zombie infested area.

    Owing to american black culture having zero tolerance for occult or dark, otherworldly phenomena, an average american black person would be the last person a zombie hunter would expect to come across in a potentially zombie infested house.

    In the environment as presented by Mr. Romero, they would more likely to encounter a leprechaun, than an atypical black person who was awake, and fully functional. American blacks will tough out any natural disaster as well or better than anyone else, but add a ghost or zombie, and the game shifts dramatically. In american black culture, zombies and ghosts are not a negotiable issue.

    The funniest, and most successful comedy of the year yet to be made, would be a reboot of NTLD, with the race ratio reversed. :

    https://www.youtube.com/watch?v=muGJ7BLKLws

    https://www.youtube.com/watch?v=InLfUMjyKNo

    https://www.youtube.com/watch?v=Ts45j7SkYCk

    Read More
    • Replies: @Anon
    Owing to american black culture having zero tolerance for occult or dark, otherworldly phenomena,

    Black culture can't stand spooks?

    Anyway, given black reality in America, I think horror offers an escapism from reality. By fixing on minds on some fantastic horror, we find temporary relief from the real horror: crime, violence, social decay, thuggery.

    In Jeepers Creepers II, an angry black kid is about to mess up a cryto-'racist' white kid... but just when things get heated, the monster attacks the bus, and white kids and black kids are on the same TEAM again.

    I suppose sports itself provides that kind of relief. By rooting for our team with black and white athletes against the other team with its black and white athletes, we can pretend that the main divide is between Giants vs Cowboys than between whites and blacks.
    Sports creates the illusion of joint purpose among the races against the Enemy: the other team of the other city when, in fact, whites of your city have more in common with whites of that city and blacks of your city have more in common with blacks of that city.

    KKK and Sharia are now mostly diversionary horror shows.
    Urban Libs' main concern is black crime, but they pretend it's the KKK to get their minds off inconvenient facts. Also, the bogeyman of Trumpenfuhrer has brought Jews and Muslims together. Muslims hate Jews over Zionism, but they want to come to the West so much that they will even play along with Jewish and homo agendas to win the ticket.

    And as PC gives special favoritism to blacks, Conservatives cannot discuss black problem and instead fixate on 'Sharia', as if Muslims are about to force veils on every woman.

    Horror is often allegory on reality... but more often than not, it is an escapism from the true problems of reality.
  74. Anon says: • Disclaimer
    @anonymous
    If I remember correctly, by rape ratings numbers (lower is better):

    1. Brit sector
    2. American sector
    3. French sector
    4. Soviet sector

    Mitigating fact (for the Germans): One of the last battalions left fighting the Soviets to protect Central Berlin and Hitler's bunker were French nationals. Tens of thousands of french volunteers served in the German Wehrmacht, and later the Waffen SS and auxiliary units. France enjoyed the largest western European force to join the Germans. Politics aside, it must be admitted that a French national, fighting the Soviets, alongside Germans, in Central Berlin in May of 1945 is pretty damned badass.

    Politics aside, it must be admitted that a French national, fighting the Soviets, alongside Germans, in Central Berlin in May of 1945 is pretty damned badass.

    Funny. French are better at fighting for foreigners than for their own nation.

    Look at the American Revolution.

    Read More
  75. Anon says: • Disclaimer
    @actual
    Owing to american black culture having zero tolerance for occult or dark, otherworldly phenomena, an average american black person would be the last person a zombie hunter would expect to come across in a potentially zombie infested house.

    In the environment as presented by Mr. Romero, they would more likely to encounter a leprechaun, than an atypical black person who was awake, and fully functional. American blacks will tough out any natural disaster as well or better than anyone else, but add a ghost or zombie, and the game shifts dramatically. In american black culture, zombies and ghosts are not a negotiable issue.

    The funniest, and most successful comedy of the year yet to be made, would be a reboot of NTLD, with the race ratio reversed. :

    https://www.youtube.com/watch?v=muGJ7BLKLws

    https://www.youtube.com/watch?v=InLfUMjyKNo

    https://www.youtube.com/watch?v=Ts45j7SkYCk

    Owing to american black culture having zero tolerance for occult or dark, otherworldly phenomena,

    Black culture can’t stand spooks?

    Anyway, given black reality in America, I think horror offers an escapism from reality. By fixing on minds on some fantastic horror, we find temporary relief from the real horror: crime, violence, social decay, thuggery.

    In Jeepers Creepers II, an angry black kid is about to mess up a cryto-’racist’ white kid… but just when things get heated, the monster attacks the bus, and white kids and black kids are on the same TEAM again.

    I suppose sports itself provides that kind of relief. By rooting for our team with black and white athletes against the other team with its black and white athletes, we can pretend that the main divide is between Giants vs Cowboys than between whites and blacks.
    Sports creates the illusion of joint purpose among the races against the Enemy: the other team of the other city when, in fact, whites of your city have more in common with whites of that city and blacks of your city have more in common with blacks of that city.

    KKK and Sharia are now mostly diversionary horror shows.
    Urban Libs’ main concern is black crime, but they pretend it’s the KKK to get their minds off inconvenient facts. Also, the bogeyman of Trumpenfuhrer has brought Jews and Muslims together. Muslims hate Jews over Zionism, but they want to come to the West so much that they will even play along with Jewish and homo agendas to win the ticket.

    And as PC gives special favoritism to blacks, Conservatives cannot discuss black problem and instead fixate on ‘Sharia’, as if Muslims are about to force veils on every woman.

    Horror is often allegory on reality… but more often than not, it is an escapism from the true problems of reality.

    Read More
  76. @Autochthon

    [M]illions of German women were raped?
     
    Millions of German women were raped? Millions? By Russians, perhaps? Even, then, I should like to know more of the evidence....

    I should like to know more of the evidence….

    Evidence is they raped anything they could their hands on.

    Jews in concentration camps:

    Ravensbrück : everyday life in a women’s concentration camp by Morrison, Jack G.
    … When Soviet forces liberated the subcamp at Neustadt-Glewe, “they raped all the women and girls: Jewish, Hungarian, German-it didn’t matter.” A group of Jewish women from this subcamp believed that their emaciated condition (they weighed on average only 30 kg/66 lbs) would be a deterrent. It was not.

    Fellow Russians in labor camps:

    The Red Army’s Rape of Europe
    … The Red Army’s men repeatedly raped liberated Russian female forced laborers. When the Red Army captured the Ravensbruck concentration camp, located 50 miles north of Berlin, Soviet soldiers gang-raped the surviving emaciated female concentration camp victims. Even teenage girls hailing from the western Soviet Union were not immune. The Russian archives detail these mass assaults, as reported by the deputy chief of the political department from the 1st Ukrainian Front, by members of the Red Army upon Russian, Ukrainian, and Byelorussian women.

    “… the night of February 14-15 in one of the villages where the cattle are herded a shtraf company under the command of a senior lieutenant surrounded the village and shot the Red Army soldiers who where on guard there. They went to the women’s dormitory and started their organized mass rape of the women, who had just been liberated by the Red Army.”

    Read More
    • Replies: @Autochthon
    Russians raping the starved and imprisoned women – doing another job Americans just won't do. ¯\_(ツ)_/¯

    We need more foreign invaders, else whi shall rape American women? (Somebody's doing the raping!)
  77. @Hippopotamusdrome
    I should like to know more of the evidence….

    Evidence is they raped anything they could their hands on.

    Jews in concentration camps:

    Ravensbrück : everyday life in a women's concentration camp by Morrison, Jack G.
    ... When Soviet forces liberated the subcamp at Neustadt-Glewe, "they raped all the women and girls: Jewish, Hungarian, German-it didn't matter." A group of Jewish women from this subcamp believed that their emaciated condition (they weighed on average only 30 kg/66 lbs) would be a deterrent. It was not.

     

    Fellow Russians in labor camps:

    The Red Army's Rape of Europe
    ... The Red Army’s men repeatedly raped liberated Russian female forced laborers. When the Red Army captured the Ravensbruck concentration camp, located 50 miles north of Berlin, Soviet soldiers gang-raped the surviving emaciated female concentration camp victims. Even teenage girls hailing from the western Soviet Union were not immune. The Russian archives detail these mass assaults, as reported by the deputy chief of the political department from the 1st Ukrainian Front, by members of the Red Army upon Russian, Ukrainian, and Byelorussian women.

    “... the night of February 14-15 in one of the villages where the cattle are herded a shtraf company under the command of a senior lieutenant surrounded the village and shot the Red Army soldiers who where on guard there. They went to the women’s dormitory and started their organized mass rape of the women, who had just been liberated by the Red Army.”

     

    Russians raping the starved and imprisoned women – doing another job Americans just won’t do. ¯\_(ツ)_/¯

    We need more foreign invaders, else whi shall rape American women? (Somebody’s doing the raping!)

    Read More
  78. anonymous says: • Disclaimer

    Russians raping the starved and imprisoned women – doing another job Americans just won’t do. ¯\_(ツ)_/¯

    You think that’s bad, you should do some research about the Russian’s handiwork in Poland. Not long into the war, the Poles were praying to their Catholic God for Hitler to win. The Russians killed so many Polish elite at once, they had to blame some of it on the Germans to keep from looking like slack-jawed primitives.

    One BIG move by our good President Trump that major western media avoided remarking on, was to address the Katyn massacre publicly and directly in one of his recent speeches while in Europe, breaking established precedent with every other US President since WWII, since the Russians don’t like that kind of talk, about historic massacres and their direct role in it, and not paying restitution to anyone. It makes them mad.

    As a side note, I’d just like to point out that if Trump was intent on kissing up to Putin, the last thing he’d consider would be standing up at a podium in Poland, before a world audience, and rubbing Russia’s noses in Katyn, in the middle of a summit, for the love of Pete!

    So today, I hope we’ve learned:

    1. In WWII, Poles got it the worst.

    2. Russians can go ape-like primitive on you. Don’t trust ‘em.

    3. President Trump continues to be awesome in every way.

    4. Rosie O’Donnell is a stupid, obese slob, and everyone hates her fat dumb face.

    5 Delta Airlines sucks Russian ape balls.

    Read More
  79. Brutusale says:
    @Lugash
    It would be interesting to make a sci-fi or horror movie with explicit racial biases. A virus or bacteria that only affects one race. A recreational drug that turns people into zombies, and certain groups keep using it. Or alternatively, the zombie virus and it's symptoms have been identified, and can be treated, but certain groups keep passing it on through promiscuous sex. It'll never happen in the current year though.

    Get Out would have been better if the plot had required African Americans because they were hosts that resulted in a better success rate, other than the cheap racial chauvinism.

    Someone should option Frank Herbert’s The White Plague.

    https://en.wikipedia.org/wiki/The_White_Plague

    Read More
  80. prole says:
    @Zombie Tim
    Anon Said:

    To be sure, the moment when the mob comes upon the black guy is filled with irony. If the black guy were white, he would have called out, leapt out and greeted the white guys as saviors and heroes. But the black guy is afraid of them. Why? He has to answer for a bunch of dead whites in the house. He killed them. They were zombified whites but he still shot them. So, he’s caught in a trap. He wants to come out and meet the living humans, but given the social racial problems, he remains hiding because he fears being accused of murdering whites.. and the whites think he’s just another zombie. Ironically, his body is treated like the bodies of dead wh
    ite zombies.
     
    Sir, you are batshit crazy!

    1. The black guy, exhausted, and barricaded in the basement, hears gunshots outside the house, breaking the prior silence. Could it be another group of humans fighting for their lives outside the house that was earlier swarming with Zombies, who just earlier ate everybody in the freaking house? That's what that black guy, or ANYone, would want to know first!

    2. Intending to investigate, while reasonably suspecting there may still be Zombie's in the house, he slowly, quietly unlocks the basement door, and walks cautiously into the living room, with his rifle ready to go. Remember, the last time that living room was occupied, it was packed with Zombie's partying on his cohort's body parts, and endlessly banging on the basement door!

    3. Walking into the kitchen, rifle ready–because Zombies–he walks slowly and cautiously, ready for anything, with a reasonable expectation of having to again shoot flesh-eating Zombies.

    4. The Rednecks notice the shadow of a figure walking slowly–some might say at the pace of a Zombie–towards the window.

    5. Before anyone can be identified on either side, the Redneck takes the shot, as encouraged by his boss. His boss, nor the Redneck state anything explicit, or that implied, that he was knowingly shooting a black guy in the head. Nor, since it was a white rural area in 1968, would any of them even expect to see a black guy in that house!

    The Rednecks were shooting an assumed Zombie, plain and simple!!


    The Moral of the Movie: The best laid plans of Zombie's and men oft go awry!

    For your review:

    https://youtu.be/X6IDNqHuHmE

    Thanks for the clip. I agree, it is clear the men were shooting at all humans they encountered, assuming all people in the area were zombies.

    The shooters do not sound like southern rednecks. They are residents of Pittsburgh, not hillbillies.

    Read More

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