Word: filming
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Dates: during 1970-1979
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...year ago, Berkey Photo (1978 revenues: $199 million) won a major victory over giant Eastman Kodak ($7 billion) in one of the largest private antitrust suits in history. A federal district-court jury in Manhattan found that Kodak, which made more than 80% of the film sold in the U.S. in 1973, when the case was first brought, and garnered over 60% of camera sales, not only had monopoly power in the amateur-photography field but had used this power unfairly. Berkey was awarded treble damages of $87 million. Now, in an equally stunning reversal, the U.S. Second Circuit Court...
...film opens in a T.V. studio operated by the Emergency Broadcast System. (Yes, there's a reason for those shrill test frequencies that get you out of bed when you fall asleep the night before watching Kojak.) A moderator and a scientific expert are having a violent political disagreement about how to handle the zombies. In the pandemoniun, four people--a technician, his stage manager-girlfriend, and two armed guards--decide to take off (quite literally--they leave in a helicopter) and find a safer area. They eventually land in a large, abandoned shopping mall outside Pittsburgh and decide...
...BUDGET summer shockers--Prophecy, alien, The Omen in its time--are all wrong: humorless, literal-minded disasters. Horror movies thrive on satire, wit, ghoulish irreverence (or else elaborately-stylized reverence, as in the Hammar films, to the point where it's funny). Or else lots of erotic overtones. (Alien had some, but they're mitigated by the film's frigidity. Prophecy is sexless.) The British can usually make funnier and more stylish horror films, because they're so good about being shocked: "A vampire you say? My word..." Here are a few of the most precious moments in horror history...
...FILM has things to say about our consumer society. Although there are heavy-handed (though valid) references to the mall as a much-beloved place, which explains the zombies' attraction to it--flickers of pleasurable memories in otherwise dead brains--Romero's satirical jabs are more skillfully displayed by the four heroes' eventual life-style and by our acceptance and enjoyment of it. Once they flush out the zombies and barricade the entrances, they have all the stores to themselves--think of it! They set up house with the finest stereo equipment, unlimited gourmet foods and wine, chic, expensive clothing...
Romero's artistic glory is his ability to add a further dimension. He gives us our fun and then holds up the mirror so that we can see the blood dripping from our lips. Towards the end of the film, when a militant hippie motorcycle gang invades the shopping mall disrupting our heroes' idyllic existence and attempting to steal merchandise, we root for the zombies to eat them. When this low-life scum begins to dispatch zombies with startling efficiency and even more startling relish, we think "God damn sadists," and then: "Wait a minute--weren't we cheering this...