Tony Todd Pumped Life into ‘Night of the Living Dead’ Remake

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Reflecting on the recent demise of versatile actor Tony Todd, I can’t help but marvel at his indelible mark on the realm of horror cinema.

In contrast to his appearances in movies such as “Platoon” (1986) and “Colors”, Todd gained widespread recognition when he took on the lead role in Bernard Rose’s “Candyman” (1992) and its subsequent sequels, and for portraying the enigmatic, authoritative Bludworth in the “Final Destination” series.

That includes the upcoming “Final Destination: Bloodlines,” which marks Todd’s final film role.

Surprisingly, the 1990 Tom Savini-directed remake of “Night of the Living Dead,” which is part of a chilling genre lineage, often goes unnoticed. This film represents the initial official remake of George A. Romero’s classic movie.

In the first major film role of his career, Todd took on the character of Ben that had been famously portrayed by Duane Jones in the 1968 original version; this was following the death of the original actor.

Discussing the 1968 movie “Night of the Living Dead,” it’s a debatable point among horror genre enthusiasts. Initially rejected when first released about 35 years ago, this film has since garnered more and more appreciation over time, largely due to the innovative twists it introduced to the traditional zombie narrative.

In this scenario, the layout stays consistent: it’s still the graveyard where Barbara (played by Patricia Tallman) and her brother Johnnie (portrayed by Bill Moseley) venture. Their dialogue is very similar to the initial exchange (“They’re coming for you, Barbara!”).

In this scenario, undead creatures unexpectedly shamble and advance into view, plunging us into a setting where the deceased rise from their graves to hunt and devour the living. Barbara seeks refuge in an abandoned dwelling where she collaborates with Ben, portrayed by Todd, to maintain the house’s safety and ward off the ravenous zombies.

As time passes, we discover that the house isn’t empty as it initially appeared, and more people start emerging from their hiding places. Later on, it becomes hard to decide which is more dreadful – the throngs of zombies trying to break in or some of the truly vile humans that Barbara and Ben encounter.

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Savini’s reinterpretation of the original movie largely adheres to the scripts by John Russo and George A. Romero, retaining this fidelity even in its initial stages, but with a colorful upgrade and contributions from several creators involved in the 1968 production. One possible explanation for the high number of veterans from the first film participating is that, as the original movie entered the public domain, no one was financially benefiting from its enduring popularity, so they chose to revisit it to potentially capitalize on its lasting fame.

Although significant financial benefits were evident from producing an authentic remake (following numerous unofficial adaptations and Romero’s own spin-offs), Savini has crafted a film that manages to be self-contained, embodying the concepts of the original while simultaneously expanding upon them.

Initially, Barbara appears resilient even after the end of the first act. Over the years, I’ve been impressed by how truthfully Judith O’Dea played Barbara in the 1968 movie, making her character seem scared and regretful to the point of shutting down.

I’ve often pondered whether I would act similarly if I were in her shoes. Contrastingly, Tallman portrays Barbara as a character who starts off as a victim of trauma, but transforms into a fighter, much like the Ellen Ripley of this movie.

It’s an inspired update.

1. The positive aspect lies in Todd’s outstanding act, the refreshing portrayal of Barbara, the strong influence of key moments, and the intensified, eerie conclusion.

2. Todd’s excellent performance is a major plus, along with a new take on Barbara, significant impact from crucial scenes, and a powerfully unsettling ending.

3. The benefits are evident in Todd’s superior performance, a revamped version of Barbara, the effect of standout moments, and an enhanced, suspenseful finale.

4. In Todd’s exceptional performance, we see a new version of Barbara, the importance of key scenes, and a heightened, disturbing conclusion.

5. The advantages are clear in Todd’s top-notch performance, the reinvention of Barbara, the influence of pivotal moments, and the intensified, nerve-wracking ending.

Unfortunately, Savini’s directorial debut in the horror genre, “Dawn of the Dead” (2007), doesn’t bring the same level of originality found in Romero’s earlier works like “Dawn of the Dead” (1978) and “Day of the Dead” (1985), or the later “Land of the Dead” (2005). Instead, it stays relatively close to the original, but falls short in delivering the necessary fear factor.

In the reimagined version, some crucial sequences are repeated but fail to evoke the same intensity as in the original. For instance, the terrifying basement unveiling in the first one, an image that still haunts many, doesn’t have the same chilling effect here.

The major letdown is the disappointing score by Paul McCollough. Instead of enhancing the film, it sounds more like a temporary keyboard track and falls short of what one would expect from a full-fledged theatrical release.

Although Savini’s movie doesn’t surpass expectations or claim definitiveness, it still manages to carve its unique niche where it matters. The chilling unmasking of Ben is more than just a shocking climax; instead, Savini, Tallman, and Todd skillfully craft an intensely haunting scene.

In Savini’s direction, the pacing is effective, however, it’s peculiar that the makeup effects aren’t as striking as they were in previous Romero productions.

It’s not essential for Barbara to offer last-minute, blunt comments, but the closing scenes effectively contribute to world-building and leaving viewers with a lingering sense of discomfort even after they leave the theater.

Savini’s “Night of the Living Dead” can be quite inconsistent yet potent at times, showing empathy towards its primary characters while sharing the same disdain towards humanity that the undead do.

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2025-04-27 20:03