By 1978, that political anger is gone, and America has reverted to being a race of consumer zombies, congregating around massive shopping malls like they're the religious temples of the Incas, trapped there not by the freedom of choice of capitalist propaganda, but mindless instinct. 'Night' pulsated with a late 1960s urgency reflecting contemporary social and political upheaval, white capitalist America beseiged by the peoples it had oppressed for centuries.
Romero's terrifying vision is of an America turned in on itself, eating itself through cannibalistic greed, the very system of capitalism based on a cycle of power and repression in which the repressed will never quite go away. But such irony is never stable - Romero keeps pulling the ground from under the viewers' feet, both in terms of character identification, and the shifting meanings embodied by the zombies. Some might say that Romero's irony is a little heavy here - the mock-triumphal Western music on the soundtrack the composition of the four at the height of the crisis standing in front of a sign with just the letters 'U' and 'S' visible the glee in the gun culture, including an ersatz Western gun store in the mall the 'Red River' like beseiging of the mall by the 'Indian' Hells' Angels on their motorbike/horses complete with tomahawks.
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Romero pinpoints this national insularity by framing his modern horror movie as a transposed Western, with the foursome as latterday frontiersmen wiping out the natives, and erecting a new civilisation. Not content with this level of confinement, our heroes draw plans, erect barriers, shut down grids. But not for long - it seems that modern American man, unlike his pioneering ancestors, cannot stand open spaces, and holes up in a building, a shopping mall, which is crawling with zombies, and recognised by the woman as a prison. There is a sense of relief in this, a sense of breaking free from the circle of undead enclosing America's major cities. An assorted quartet - two media, two army three white, one black three men, one woman - escape in a helicopter used for rush-hour traffic reports.
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The film starts explosively, inside a panicking TV station trying to report on the inexplicable emergence from the earth of the undead. The claustrophobia of the first film is replaced by a wider frame of reference, including the media, the military and suburbia although, typically, the move is once again towards the indoors. It is one of the best films of the 1970s, a reckless, hubristic, over-ambitious masterpiece whose excess is reined in by its Langian formal precision. 'Dawn of the dead' may lack the pulverising immediacy of 'Night of the Living Dead', but it gains in exhilirating, epic scope.
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