DOD ultimate

THE FLICK: It’s tough to convince “non-believers” that Dawn of the Dead is anything more than an amateurish splatter film. Of course, these are the same people that won’t watch black and white movies or anything presented with subtitles. In short, they’re morons. But if you’d like to point out the depth of their stupidity, flash a copy of Anchor Bay’s new Ultimate Edition as proof that there are people in the world who “get it.” Enough to enjoy three versions of the film (theatrical, extended and European), two whopping documentaries, three full-length commentaries, and oh-so much more behind-the-scenes info about what is universally regarding as the best zombie movie ever made. Before we go any further, the excerpt below is from the review of the previous Anchor Bay release of the theatrical edition for those not in the know. More than any of his other 1970’s behind-the-camera contemporaries, George Romero resented the label “horror film director.” And while many might find this attitude ungrateful, it’s exactly what made his films so distinct. After the slow-building success of “Night of the Living Dead,” and with a couple of interesting experiments like “The Crazies” and “Martin” behind him, Romero finally revisited the zombies he’d created with “Dawn of the Dead.” As a sequel, “Dawn” is a direct narrative continuation of the ’69 storyline despite the fact that ten years had passed between movies. But the tone of the film is a complete 180 from the nostalgically paced scares of the first film. Not only had Romero evolved as a filmmaker but society had changed as well, making itself an easy target for the director’s scathing satire of consumer-driven excess. Although their origin is still unexplained, the undead are gaining strength in numbers, forcing what’s left of the human population to scatter in a desperate flight for self-preservation. Four of these refugees (played by David Emgee, Ken Foree, Scott H. Reiniger, and Gaylen Ross...perhaps the best group of unknowns Romero ever assembled) luck into an abandoned shopping mall full of things they need – guns, food, supplies – and things they don’t – fancy clothes, expensive watches, and bags of money. After waging war on the resident zombies (“This was an important place in their life,” one character says), the group emerges bloodied but victorious. It’s only then that they begin to question what they were fighting for. And if they were on the right side. Yes, “Dawn” made its mark as a splatter film, something that is bound to disqualify it as a serious work in the eyes of many. But Romero makes sure his themes and characters get equal time, setting up the audience with exploitation-style thrills and chills only to hit them with some equally hardcore metaphors when they’re not looking. The gore-hounds would have to wait until “Day of the Dead” for more realistic bloodletting and zombie peutrification. Here, Tom Savini’s gruesome effects are used just as often for comic relief. For all his frustrations as being creatively pigeonholed, George Romero backed-in to certainly the best work of his career and perhaps the most intelligent horror film of all time. The images of grey-skinned zombies stumbling through a man-made world of fountains, escalators and rubber plants set to a warped Musak soundtrack encapsulates the brilliance of “Dawn of the Dead” in a way that is all too familiar. The undead are still with us...because they are us. Released earlier on DVD, the extended edition runs 12-minutes longer and was often misleadingly titled the “director’s cut.” Although it’s great to see the extra footage, there’s a noticeable loss of momentum. The first act drags (more time at the boat docks) and the final act spends too much time with the biker gang. The European Cut is presented here in the U.S. for the first time. At 118 minutes, it’s the shortest and most action-packed of the three. Shock value replaces much of the subtext, but curiously (since Italian splatter king Dario Argento was involved) even some of the gore was trimmed (the “helicopter zombie” never makes an appearance). The score features more Goblin tunes; even the “Captain America” theme is replaced at the film’s conclusion. The entire rhythm of the film seems distinctly different...and not in an entirely bad way. This is perhaps what Dawn would have looked like in the hands of a studio distributor, had it made it past the censors. THE FEATURES: The inclusion of two other versions of the film is only part of what earns the Ultimate label. Let’s start with the commentaries first. On the theatrical version: Romero, his wife, Chris, and Tom Savini. On the extended version: producer Richard P. Rubinstein. And finally the four main cast members speak over the European cut. Each version also gets its own trailers and advertising galleries. Check out the Monroeville Mall Commercial on disc two for a look at the height of 70’s “big indoor mall” advertising. Disc Four holds the documentaries, starting with The Dead Will Walk, a brand-new 75 min. exploration of the film from scene one. Actually it begins earlier with Romero’s reticence to shoot a sequel to Night right away, perhaps missing the Hollywood bandwagon. But when Argento whisks him away to Rome for a screenwriting session several years later, the Romero’s family filmmaking machine kicks into gear. Everyone gets a chance to speak their mind here, from the creative head honchos to the featured zombies (that someone bothered to track down “Nurse Zombie, Helicopter Zombie, and Screwdriver Through the Ear Zombie” is a new DVD milestone). You can’t ask for much better. But you can ask for more...and there is. Document of the Dead contains the previously rare film by Roy Frumkes that captures the experience of Dawn as it was being filmed. Far removed from a traditional studio promotional piece, think of this as more of a film-school education using Romero’s work as a stunning example of auteurism. An even rawer look behind-the-scenes comes from 8mm home movies shot by zombie extra Robert Langer, who also provides a running description of the events. Look close and you catch a glimpse of Steeler star Franco Harris visiting the set. Another cool glimpse into more modern history is the Monroeville Mall Tour led by actor Ken Foree through the Pennsylvania mall where Dawn was shot which has since become a mecca for film fans. Point and click on each disc to find some Easter eggs as well. FINAL SCORE: The collectibility factor plays big here. Anchor Bay has gone out of its way to provide a complete history of Romero’s finest film and present it with class. Even the animated menus are deliciously designed. No fan will go away disappointed. And it might even convert a few non-believers.