Perhaps it was that very excess that divided the Dallas audience, twenty per cent of whom left in disgust (with those who remained violently hissing those who were leaving). It carries things to an absurd degree that we know is absurd”. For him, the social satire that critics praise Dawn for was always part of the surface excess, “very frontal, very obvious…it is criticism from overstatement. Romero long contended that Dawn of the Dead was nothing more than schlock, a combination of (as he told Starburst in 1982), “all the schlock classics that we have had over the past 20 or 30 years”. “There’s no disguise involved,” he demurred. “That film was just a schlock movie disguised as art!” To their surprise, Romero appeared to agree with them. public showing less than fifteen minutes into the movie, and had been lying in wait for the director outside the picture house. These Junior Leaguers had walked out of Dawn’s first U.S. Romero was accosted by a group of outraged silver-haired women in their diamonds and jewels. Romero’s zombie masterpiece Dawn of the Dead.Īfter the 1979 Dallas Film Festival screening of Dawn of the Dead at the Bob Hope Theatre on Southern Methodist University Campus, George A. In a new book in Auteur’s ‘Devil’s Advocates’ series, author Jon Towlson explores the excesses of George A.
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