As a seasoned horror enthusiast who’s seen his fair share of zombie apocalypses on screen, I can confidently say that Zack Snyder’s opening to the 2004 remake of Dawn of the Dead is nothing short of masterful storytelling. It’s a rollercoaster ride of tension, terror, and tragedy, all within the first ten minutes!
George A. Romero’s 1978 movie “Dawn of the Dead,” currently available on Peacock, is renowned as a chilling horror masterpiece. This zombie tale is dark, grisly, and filled with a melancholic atmosphere that portrays consumerism’s mind-numbing comfort as equally dangerous as the living dead.
Initially, Zack Snyder faced a significant challenge as he embarked on his first full-length film project following a career in music video direction. The film was a remake of “Dawn of the Dead,” which he took on in 2004. The question was whether Snyder, working with a screenplay penned by budding writer James Gunn, could create a movie that matched the brilliance of Romero’s original or if it would merely be a feeble, lurching replica.
To get your answer, it’s sufficient to watch just the initial 10 minutes of the movie “Dawn of the Dead“, because its opening scene is practically flawless.
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Why Zack Snyder’s opening to 2004’s Dawn of the Dead is perfect
In essence, every aspect of “Dawn of the Dead” is commendable, with Snyder’s direction being his finest work. However, its opening sequence truly stands out, demonstrating exceptional storytelling in cinema. This opening not only establishes the gravity of the situation but also leaves both the characters within the film and viewers alike guessing about what might happen next, as no one can predict the chaos of the zombie apocalypse.
A significant factor is that these zombies move swiftly, which was a departure from the traditional portrayal of them as slow-moving creatures. The 2004 movie “Dawn of the Dead” wasn’t the first to reinvent the concept; the film “28 Days Later” had already done so in 2002, although some might argue that the Rage-infected characters in that film weren’t truly undead. The swiftness of Snyder’s zombies makes them particularly vicious, forcing their victims to react quickly. This quick deterioration of the situation in the opening scenes adds an extra layer of suspense and horror, as things can go from bad to worse extremely rapidly.
Initially, “Dawn of the Dead” begins in a peaceful manner. Here, Sarah Polley portrays Anna, a dedicated nurse who’s just finished an extra hour beyond her already extended shift at Milwaukee County Hospital. Despite her fatigue, she demonstrates her commitment and camaraderie with her colleagues through casual conversations about future aspirations – dreams that tragically remain unfulfilled.
There are hints suggesting that something is amiss or trouble lurking ahead. A patient with a bite wound is critically ill in the hospital. While driving home, Anna switches radio stations too swiftly to catch a distressing news update. It’s nearly uncomfortable to observe, as she’s narrowly avoiding the signs that could have warned her, yet she’s barely catching them.
In her nearly serene, well-arranged suburban community, Anna meets up with Vivian, a local girl she’s fond of. They discuss a future plan to roller skate together, but unfortunately, this plan never comes to fruition. Upon returning home, Anna spends the evening having a romantic dinner with her husband, Luis. Their night takes an intimate turn as they share a passionate moment in the shower, unaware that a news update on TV would have informed them of an impending crisis. Unbeknownst to them, disaster is brewing, marking the beginning of the end of the world. Despite this, their evening at home in their idyllic neighborhood is blissfully perfect.
And then the world as they know it ends.
The following morning, Vivian steps into their home, and when Luis rushes to assist her – further demonstrating the inherent goodness within them – he finds himself being viciously attacked by Vivian, who snaps at him with her blood-streaked teeth. This brutal act catches everyone off guard, as just moments earlier, Anna was peacefully sleeping in the arms of her beloved. Now, however, that man lies mortally wounded on their bed due to Vivian’s unprovoked attack. The chaos is so swift that Anna barely has a moment to grieve, as Luis quickly turns his aggression towards her. In a desperate bid for survival, she snatches the car keys and makes a hasty escape through the bathroom window in a nerve-wracking, confined getaway.
The scene outside is chaotic with people running and shouting, surrounded by smoke and flames. A man, seeing Anna as a threat in this lawless situation, aims a gun at her, only to be hit by an ambulance. Previously, Anna had tried unsuccessfully to contact emergency services for help with Luis, further confirming the inability of the authorities to protect anyone. Fearing for her life, Anna tries to escape from Luis who, driven by anger and hunger, pursues her car before moving on to attack an easier target. To whatever state Luis has descended into, Anna holds no special significance; he is simply motivated by his rage and hunger, which gives a melancholic tone as she is no longer being chased.
As Anna navigates an uncertain destination, she accidentally bumps into a woman in need who’s attempting to enter her vehicle. In this crumbling world, it seems like everyone is on their own. The camera pulls back to show the vast destruction, with flames and bursting structures marking the turmoil that Anna must endure as she drives through the pandemonium.
1. All that she had learned reached its conclusion during sleep-time. The audience’s understanding of zombies has been shattered beyond recognition. Things are unfolding at an alarming pace, and we feel just as confused as Anna does when she swerves off the road while trying to evade a thief attempting to hijack her car for his own survival. The scene fades to darkness. (Paraphrased version)
It’s only been 10 minutes, and so much has changed so horribly.
The cherry on top of this terrifying slice of horror is a superb opening title sequence, created by Kyle Cooper. A few glimpses of news reports — especially a sequence where an official admits “we don’t know” if the infected are alive or dead — add a little bit of context, as do scenes of devastation that make it clear what’s happening in Milwaukee are happening around the world.
The scene culminates with an ominous tone set by Johnny Cash’s “The Man Comes Around.” As Cash sings about the biblical apocalypse with a hint of joviality, it injects a dark humor into the situation. However, the atmosphere is far from light-hearted. Instead, it’s intense and heavy. The title sequence serves as both a relief from the high-stress tension of the preceding 10 minutes and a chilling forewarning of what lies ahead. When Cash finishes singing, “And I looked, and behold a pale horse / And his name that sat on him was death, and hell followed with him,” you can’t help but feel a sense of foreboding about the resumption of the movie.
The remaining portion of the movie is still commendable, but it’s those initial 10 minutes and the subsequent title sequence that truly stand out. They carry such a strong impact that one could argue they alone are enough to satisfy, although there’s always a need for more, almost.
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2024-09-02 19:32