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Rating: It's hard not to start with preconceived notions about a film like this. And there are fundamentally two reasons. First of all, it's the remake of a cult film, something that a priori throws it to the ruthless and unforgiving dissection by hordes of aficionados and purists. Moreover, it's the debut film of the talented music video director Zack Snyder (perhaps guilty of having a vaguely mainstream background), who certainly did not deliver a very brilliant performance with the subsequent "300", although the blame could not be solely attributed to the director.
To this less than encouraging preamble, it is mandatory to add that, in the dawn of the third millennium, generally characterized by the art of revamping (cinematographically and otherwise) as a common, reiterated practice, often with disastrous outcomes, it is not easy to present such a product to the audience.
I make this preface simply because I admit approaching this "Dawn of the Dead" (the Italian version of Romero's original was "Zombi", dated 1978) with a certain caution, dictated by the huge disappointments aroused by many overly-hyped remakes or seedy comebacks with a merely monetary background from generational authors.
Yet it's evident from the very first instant that in this case, we are dealing with something different. The atmosphere is suspended, rarefied, and the looming threat is palpable. To be more precise, it must be said that, in reality, the audience undergoes it.
The framing, editing, and cinematography are meticulously crafted, but without baroque or redundant effects. It's a cynical frontal assault that Snyder has prepared from the start, and it's apparent he has studied it in the smallest details. Here is where the viewer's attention is captured, trapped, and forced to follow through to the very end the development of the plot and the destiny of the characters, all excellently portrayed. Of course, the performances are not worthy of iconic stage legends, but in context, all the actors deliver commendable performances (although Sarah Polley and Ving Rhames certainly stand out). The vision is more apocalyptic and "global", the rhythm is at times tranquil, other times frenetic and syncopated, aligning with the reactions of the undead mass, undoubtedly more akin to "28 Days Later" than to the sluggish and muddy (yet no less chilling) original by Romero.
There are certainly special effects and grand guignol moments, but what strikes the most is the symbolic value that permeates the scenes and dialogues, often delving into the psychological wounds of the various protagonists and bringing to light disturbing truths about hatred and intolerance. The survivors barricaded in the shopping mall and the undead surrounding it, driven by a collective unconscious hiding consumerist urges that even death could not conquer, clearly reference the treacherous and desecrating intentions of young Romero. The personal touch in the screenplay is given by the subtle dark humor that pervades the film, making it even more enjoyable if possible.
Over the years, there have been numerous criticisms regarding this production, perhaps too casually dismissed as a simple and sleazy commercial operation. I find it unfair, personally, not to dwell on the intrinsic value of a work. And this, regardless of the economic reasons it may or may not imply.
A fine debut, to be placed alongside the equally valid remake of "The Texas Chainsaw Massacre" by the all too prematurely decayed Tobe Hooper. A must-watch and rewatch to absorb every little detail.
And then how can one not be amazed by the masterfully crafted opening titles? Truly striking close-ups of horrific undead creatures alternate, with skillful editing, with archival footage (and here the experience gained in Mtv circuits is evident), evoking the overthrow of the world order. In the background, an unimaginable song in such a context. Yet awesomely perfect.
God on earth, Johnny Cash, cleansing the world of its sins...
"There's a man goin' 'round takin' names.
An' he decides who to free and who to blame.
Everybody won't be treated all the same.There'll be a golden ladder reaching down,
when the man comes around..."
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