2008 (USA)
Contains
mild spoilers.
Three years on the
from fourth big budget instalment in George Romero's Dead series, Diary of the
Dead is an altogether different kettle of fish. Gone is the backing of a big
studio and lavish budget that comes with it, and what we're left with is a tighter,
more personal story focused on a small band of survivors attempting to make
sense of a world falling apart. Produced by Romero-Grunwald Productions, formed
by Romero and his friend Peter GrunwaldIt, and filmed in four months with a
modest budget of around $2m, Diary of the Dead is not only a return to the
franchises roots in terms of scale but also a return to the zombie origin
story; following the outbreak as it first unfolds. Romero called this film 'a
rejigging of the myth' and a break from the previous four films which followed
(albeit loosely) a linear timeline.
Loosely put the film
follows a group of film
studies students and their faculty tutor from the University of Pittsburgh
as they attempt to escape the city and get back to their family and loved ones
whilst more importantly feeding their desire to provide a truthful, up to date video
record of what is really happening
against a backdrop of perceived misinformation and mass-crowd control being broadcast
by the main stream press.
Romero has always imbued his Dead films full of the particular zeitgeist of the time. Mass consumerism,
racism, state control have all appeared to help shape and define his previous
offerings and here in the late 2000s he has turned his attention to the power of communication in the modern age. The film looks at how the perceived power of controlling the message is transitioning from the state and mainstream media
machine to the internet and personal bloggers who can cut through the propaganda to
provide genuine personal accounts without distorting the story. Romero always likes
to take the stance that the individual whether it's against an authoritarian
state or repressive ideology will always eventually come to question the
status-quo and force, or evolve a way to break free from it. The zombies are
always the metaphor of this control and the survivors are always a mix of those
who unconditionally accept what they're
being told or how they're being told to live, or are struggling and actively
fighting against it.
From the off we can
tell this is a departure from Romero's classical film style as we hear a
narrator beginning to explain the accuracy and truth of the real life
documentation we are about to witness. Like Rec and as made famous by Blair
Witch Project the film is entirely told from the perspective of captured film
taken by both Jason Creed (Joshua Close) and later his girlfriend Debra
Moynihan (Michelle Morgan). Listening to main stream media and watching as
stories of how the dead are coming back to life Jason takes it initially upon
himself to document what is really taking place and the film follows the
students as they stumble from pillar to post struggling to work out what to do
or where to go whilst trying to do the right and get a truthful account of what
is really taking place on ground level to a wider global audience.
It's Romero and we
know what we're going to get from our undead friends and as one watches the zombies arrive on mass to swarm the barn or broken down camper van you could easily think you watching his first film from 1968. There's no running and no driving ambulances; but
there are imaginative zombie dispatches to go alongside the multitude of genre-staple
headshots. There's also a nod back to the 'no more room in hell' premise, as the dead come
back to life regardless of whether they've been bitten, and whilst hell isn't directly mentioned, Romero has stayed true to his original vision and provides no explanation as to why any of this might be happening. Despite the limited budget Romero
employed a lot of CGI for the few more open shots, watched on by the group
on televisions and monitors. They all successfully integrate with the style of
the film and provide timely juxtaposition the claustrophobic of the small band with what is happening to the world at
large.
It is another great
Romero zombie film, thought provoking, and well produced but it's not without
its faults. Unfortunately and I've accused Romero of this before; the
characters, both main and side are all a little flat and uninteresting. Their
reactions to certain situations are at times a bit bland, cliché or even downright
woefully stupid, and at no time when any of them were killed did I find myself actually
caring that much. I also guess, and it's part of the point; remember it's about the art darling, as their
faculty advisor Andrew Maxwell (Scott Wentworth) would put it, but those times
when the act of making the documentary were taking precedent over personal and
friends safety, it was hard to think of the young students as anything other than douchebags and
way too full of themselves.
Overall it's clever
and slots nicely into Romero's zombie series. There are many great scenes and some great ambience but it does fall a little flat on the whole. Despite the criticisms though it certainly deserves a place in any zombie, horror, or film studies
student's film collection, 7/10.
Steven@WTD.
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