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Night of the Living Dead is a 1968 black-and-white independent horror film directed by George A. The story begins as siblings Barbra (Judith O'Dea) and Johnny (Russell Streiner) drive to rural Pennsylvania to visit their father's grave. Meanwhile, hiding in the cellar are an angry married couple, Harry (Karl Hardman) and Helen Cooper (Marilyn Eastman), their daughter Karen (Kyra Schon), who sought refuge at the farmhouse after a group of attackers turned over their car; and teenage couple Tom (Keith Wayne) and Judy (Judith Ridley). Harry returns to the cellar to Helen and Karen, who has fallen seriously ill after being bitten on the arm by one of the mysterious attackers. When news reports reveal local rescue centers offering safe refuge, Ben plans to reach the nearest of these and obtain medical care for Karen.
Ben returns to the house with the undead after him to find Harry retreating to the cellar door, leaving Ben outside to contend with the living dead.
Barbra, distracted upon seeing a reanimated Johnny among the living dead, is carried away by the horde and is never seen again. The next morning, Ben awakens as a posse arrives; but is killed when a member of the posse, mistaking him for a living dead, shoots him between the eyes.
Members of Image Ten were personally involved in filming and post-production, participating in loading camera magazines, gaffing, constructing props, recording sounds and editing.[7] Production stills were shot and printed by Karl Hardman, who stated in an interview that a "number of cast members formed a production line in the darkroom for developing, washing and drying of the prints as I made the exposures. Upon the completion of post-production, Image Ten found it difficult to secure a distributor willing to show the film with the gruesome scenes intact. The supporting cast had no experience in the film industry prior to Night of the Living Dead. Image Ten members Karl Hardman, Marilyn Eastman and Russell Streiner performed prominent acting roles. Critics saw the influence of the horror and science-fiction films of the 1950s in Romero's directorial style. The eerie and disturbing music score of Night of the Living Dead was not composed for the film.
Night of the Living Dead was awarded two distinguished honors thirty years after the debut. Since the release, critics and film historians have seen Night of the Living Dead as a subversive film that critiques 1960s American society, international Cold War politics, and domestic racism. While George Romero denies he hired Duane Jones simply because he was black, reviewer Mark Deming notes that "the grim fate of Duane Jones, the sole heroic figure and only African-American, had added resonance with the assassinations of Martin Luther King, Jr.
The film and its successors spawned countless imitators that borrowed elements instituted by Romero: Tombs of the Blind Dead (1971), Zombie (1979), Hell of the Living Dead (1980), Night of the Comet (1984), Return of the Living Dead (1985), Night of the Creeps (1986), Children of the Living Dead (2001), and the video game series Resident Evil (later adapted as films in 2002, 2004, and 2007), Dead Rising, and The House of the Dead. 24-player multiplayer action – Choose your side, plants or zombies, in 24-player online battles.
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New plants and zombies – Powerful new plants and zombies with a huge variety of abilities. Johnny teasingly frightens his sister, by repeating the words, "They're coming to get you, Barbra!"; whereupon they are attacked by a strange man (Bill Hinzman).
Radio reports explain that a state of mass murder is sweeping across the East Coast of the United States.
Ben and Tom then go to refuel Ben's truck while Harry hurls Molotov cocktails from an upper window to keep the living dead at bay.


While trying to stop them, Harry grabs Ben's rifle and threatens to shoot him, but Ben takes back the gun and shoots Harry, who stumbles into the cellar to find that his daughter Karen has died of the infection on her arm.
Karen attacks Ben, but he escapes and seals himself in the cellar, which ironically was the plan he was against, and shoots the reanimated Harry and Helen. According to Hardman, "We knew that we could not raise enough money to shoot a film on a par with the classic horror films with which we had all grown up.
The blood, for example, was Bosco Chocolate Syrup drizzled over cast members' bodies.[10] Costumes consisted of second-hand clothing, and mortician's wax served as zombie makeup. Columbia and American International Pictures declined after requests to soften it and re-shoot the final scene were rejected by producers.[13] Romero admitted that "none of us wanted to do that. Romero under the title Monster Flick, an early screenplay draft concerned the exploits of teenage aliens who visit Earth and befriend human teenagers.
The deceased in I Am Legend return to life and prey on the uninfected.[7][17][18] Film adaptations of Matheson's novel appeared in 1964 as The Last Man on Earth and in 1971 as The Omega Man. Karl Hardman attributed the edits to lead actor Duane Jones: "The script had been written with the character Ben as a rather simple truck driver. The cast consisted of Pittsburgh stage actors, members of the Image Ten production crew, and acquaintances of Romero.
His performance depicted Ben as a "comparatively calm and resourceful Negro," according to one reviewer at the time.[21] Casting Jones was potentially controversial. Karl Hardman and Marilyn Eastman contacted O'Dea, who had once worked for them in Pittsburgh, to audition for the part. The role of Tom remained Keith Wayne's only film role (he committed suicide in 1995),[26] but Judith Ridley co-starred in Romero's There's Always Vanilla (1971).[27] The cemetery zombie who kills Johnny in the first scene was played by S. Hardman and Eastman co-starred as Harry and Helen Cooper (Eastman also played the female zombie who plucks an insect off a tree and eats it) while Streiner played Johnny, Barbra's brother.
Although zombie cannibals were inspired by Matheson's I Am Legend, film historian Robin Wood sees the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Karl Hardman told an interviewer that the music came from Hardman Associates's extensive film music library. Roger Ebert of the Chicago Sun-Times chided theater owners and parents who allowed children access to the film. Women are portrayed as helpless and often excluded from the decision-making process by the male characters. Sites such as the Night of the Living Dead site and The Zombie Initiative owe their entire existance to Romero's 1968 film. As one film historian points out, horror prior to Romero's film had mostly involved rubber masks and costumes, cardboard sets, or mysterious figures lurking in the shadows. Early drafts of the script were titled Monster Flick, but it was known as Night of Anubis and Night of the Flesh Eaters during production. Johnny tries to rescue his sister, but is then presumably killed when the man shoves him head-first onto a tombstone.
Harry asks everyone to hide in the cellar, but Ben deems it a "deathtrap" as there is no escape if the attackers break in, and remains upstairs. When Ben finds a television, the emergency broadcaster reports that the recently deceased have become reanimated and are consuming the flesh of living people. The undead begin to pull Helen and Barbra through the windows, but Helen frees herself and goes down to the cellar to find a reanimated Karen consuming Harry's flesh. In the 1960s, he directed and produced television commercials and industrial films for The Latent Image, a company he co-founded with friends John Russo and Russell Streiner.


A second version of the script featured a young man who runs away from home and discovers rotting human corpses that aliens use for food scattered across a meadow.
In the mid-twentieth century it was unusual for a black man to play the hero in a film that starred white actors, and commentators saw Romero's choice of Jones as significant.
His initial work involved filming shorts for Pittsburgh public broadcaster WQED's children's series Mister Rogers' Neighborhood.[14][31] Romero's decision to direct Night of the Living Dead essentially launched his career as a horror director.
Much of it used in the film was purchased from the library of Capitol Records, and an album of the soundtrack was released at one point. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. Barbra suffers a psychological breakdown so severe after the loss of her brother that she is reduced to a semi-catatonic state for much of the film.
Barbra flees, with the killer in pursuit; eventually she reaches an empty farmhouse where she discovers a half-eaten female corpse, following which she encounters a huge army of undead.
Experts, scientists, and the United States military do not know the cause, though one scientist believes the cause to be radioactive contamination from a space probe returning from Venus that exploded in the Earth's atmosphere.
In the house, a report on the television reveals that, aside from lighting dead bodies on fire, a gunshot or heavy blow to the head will stop any living dead and that posses of armed men are patrolling the countryside to restore order. Karen starts to walk slowly towards her and kills her by stabbing her repeatedly with a masonry trowel.
During this period, the trio grew bored making commercials and wanted to film a horror movie. She remarked in an interview that starring in the film was a positive experience for her, although she admitted that horror movies terrified her, particularly Vincent's Price's House of Wax (1953). Dillard claimed that the "open-eyed detailing" of taboo served to heighten the film's success.
Stock music selections included works by Ib Glindemann, Philip Green, Geordie Hormel, William Loose, Jack Meakin and Spencer Moore.[38] Some of the music was earlier used as the soundtrack for the science-fiction B-movie Teenagers from Outer Space (1959) The eerie musical piece during the tense scene in the film where "Ben" finds the rifle in the closet inside the farmhouse as the radio reports of mayhem play ominously in the background can be heard in longer and more complete form during the opening credits and the beginning of The Devil's Messenger (1961) starring Lon Chaney Jr.
Judy is portrayed in an extreme state of denial, leading to her own death and that of her boyfriend.
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The plot revolves around the mysterious Corporeal reanimation of the dead and the efforts of Ben, Barbra and five others to survive the night while trapped in a rural Pennsylvania farmhouse.
Running out of the house, she notices several figures akin to her pursuer; whereupon a man named Ben (Duane Jones) arrives in a pickup truck, drags Barbra back into the house, and barricades the doors and windows. Tom and Judy attempt to get the truck away from the pump to avoid further damage; but it explodes, killing them both. Another piece was taken from the final episode of television's The Fugitive, which had aired one year earlier.[39] According to Hardman, "I chose a selection of music for each of the various scenes and then George made the final selections.
Barbra insists that they must rescue Johnny; she hysterically slaps Ben, he punches her even harder in the face and she collapses.



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