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"They're coming to get you, Barbara!"
Johnny
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Night of the Living Dead is a 1968 horror film directed by George A. Romero, who co-wrote the screenplay with John Russo. The first film directed by Romero and the first entry in the Living Dead Series, it became one of the most influential horror films ever while inaugurating the Zombie Apocalypse genre in the process.

Before Living Dead, zombies had always been depicted as creatures of voodoo who obeyed their masters. Romero did something completely different: He offered no explanation for their existence (save a speculative hand wave about an exploded space probe and radioactive fallout), gave them no masters, and endowed them with an insatiable appetite for the flesh of living creatures. His Flesh-Eating Zombie creation has since become synonymous with the word "zombie" in popular culture. Romero also commented on the increasing tensions manifest in American society in The '60s—as the film demonstrated, people had as much to fear from each other as they did from zombies.

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This film is in the Public Domain despite its relatively recent vintage due to a screwup. In 1968, United States copyright law required a proper copyright notice in order for a work to properly secure and maintain its copyright. While this film did display such a notice on the title frames of its original title—Night of the Flesh Eaters—The Walter Reade Organization, which originally distributed the film, neglected to place a copyright notice on the title card after it became Night of the Living Dead. By the time the filmmakers noticed the oversight, they could do nothing about it. Nowadays, anyone with the resources to distribute the film can do so without legal repercussions; this means you can legally view or download the film for free on Internet sites such as the Internet Archive and YouTube.

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After Night of the Living Dead became an unexpected success, Romero and Russo discussed making a sequel; after disagreeing on the direction it should take, they each decided to do their own version. Romero made the equally-successful Dawn of the Dead and not-quite-as-successful Day of the Dead. Russo made his films more comedic with the Return of the Living Dead pentalogy, which single-handedly introduced the concept of zombies eating brains. Both series have modern sequels: Romero directed the fourth film of his franchise (Land of the Dead) in 2005, then made a quasi-reboot (Diary of the Dead) and its sequel (Survival of the Dead), while Russo's Return of the Living Dead films strayed from the "comedic" angle to Gorn. Meanwhile, in 1999 John Russo re-released the original 1968 film for its 30th anniversary with new footage and a new soundtrack—and without Romero's involvement. This altered version received its own sequel, Children of the Living Dead, in 2001.

All three of the films in the original Living Dead trilogy have received remakes, each with varying degrees of success—Romero himself wrote and produced a faithful remake of Night in 1990, while close friend Tom Savini directed. Night also received a second remake, filmed in 3D, in 2006; Romero had no involvement with the latter remake, which departs fairly radically from the source material. In November 2018, it was reported that a direct sequel to this film (adapted from an unproduced script by Romero and Russo) had entered development, but nothing has been heard since.

Night of the Living Dead remains one of the most iconic horror films of all time. Numerous movies, television shows, video games, books, and comic books owe their origin to this pioneer of zombie horror. And you know you made an excellent horror film when Mister Rogers, of all people, thinks of it as a fun movie.


Night of the Living Dead contains the following tropes:

  • Accidental Truth: Johnny is teasing Barbara in the cemetery and keeps saying "They're coming for you" and then points at the shambling old man and says "He's one of them". The old man turns out to be a ghoul and attacks Barbara.
  • Adult Fear: Judy speculates that her and Tom's parents are experiencing this if they're still alive, which gives her a out of this herself.
  • Anti-Hero: Ben isn't as sympathetic a character as you might expect: he makes several bad choices, is often confrontational and uncooperative, Would Hit a Girl and so on.
  • Asshole Victim: Harry Cooper, by the end of the movie.
  • Bait the Dog: Sheriff McClelland and his posse seem like a good thing when they're first seen on the news but end up thinking the Sole Survivor is a zombie, and shoot him.
  • Barrier-Busting Blow: In the climax, as a mob of zombies reach into the house to pull Barbra away.
  • Berserk Board Barricade: Ben picks up spare pieces of wood around the house and nails them to the windows and doors.
  • Beware the Living:
    • Codified here with Ben's death at the hands of the redneck zombie-hunting posse.
  • Big Brother Instinct: Johnny bitches about having to make the trip to the cemetery and teases Barbra mercilessly, but when she's attacked by the first zombie he immediately springs to her defense.
  • Bittersweet Ending: Everyone dies to the zombies except Ben because of their idiocy. Ben himself is mistaken for a zombie and shot dead by the militia group sweeping up the last of the zombies. On the bright side, the zombie apocalypse got cleaned up pretty easily.
  • Black Dude Dies First: Averted. Or, rather, inverted; the black dude is actually the last man standing in the end... until he gets shot by the rednecks.
  • Bottle Episode: Made for a small budget, and almost the entire film takes place in or around a single house.
  • Break the Cutie: Barbra, an attractive Ingenue who's endearing despite her uptight personality, gets attacked by a zombie, watches her brother die, finds a skeletonized corpse, and then finally goes into a panicked daze.
  • Burn the Undead: Fire is an effective means of dispatching the living dead and is recommended by the radio emergency broadcasts.
  • Cavalry Betrayal: Ben has managed to survive in a house besieged by ghouls. In the morning, the Sheriff's posse that systematically kills the ghouls is approaching. Ben comes out and he is shot down because the members of the posse think that he is a ghoul.
  • Creator Cameo: George Romero appears as one of the TV reporters interviewing the military spokesmen in Washington.
  • Creepy Basement: Subverted. The cellar is the one truly safe place... at least until Karen turns.
  • Creepy Cemetery: The film opens with Johnny and Barbra arriving at an isolated rural cemetery to put a wreath on their father's grave. Even before the first zombie shows up, the place seems very sinister and unsettling with all the old gravestones jutting out of the ground.
  • Cue the Sun: Subverted in the final scene.
  • Darker and Edgier: Much bleaker and more violent than previous horror films. Notably, many children were frightened after seeing thisnote .
  • Damsel in Distress: Barbra is often accused of being this, though she does succeed in running away from most of the zombies. It's just that when things calm down, she goes slightly catatonic. Trauma can do that to a person.
  • Daylight Horror: Despite the movie obviously taking place mostly at night, the first time we see a zombie attack is during the day. And Ben gets killed in the morning.
  • Death by Falling Over: Johnny is knocked down by a ghoul and hits his head on a gravestone, killing him.
  • Death Glare: Ben gives the cowardly Cooper a withering one after kicking in the locked door after Cooper refused to open it for him. With the zombie horde right behind him, Ben waits long enough to lock and barricade the door again before acting on it.
  • Decoy Protagonist: For the first quarter of the movie, it looks like Barbra's the protagonist. Then Ben shows up and she turns into The Load.
  • Deliberately Monochrome: Romero has gone back and forth on whether the black-and-white photography was for artistic or purely budgetary reasons. It does give the film a kind of documentary feel.
  • Door Handle Scare: Barbara is sitting in the living room almost halfway into the movie while another character boards up the windows without her. She listens to the radio about the flesh eaters roaming outside in the night. The radio almost increases in volume with no other sound in the scene. She then hears a couple bangs behind the unchecked door beside her. The camera goes back and fourth onto the door and then on her face. The knob doesn't turn, and then the music soars as the other survivors of the house stumble out at her as she screams and tries to run away.
  • Dramatic Thunder: The appearance of the first zombie in the cemetery is heralded by this.
  • Dutch Angle: Used quite a bit by Romero, who tilts his camera to emphasize the unsettled feelings experienced by the characters.
  • Early Installment Weirdness:
    • Unlike all of the following films in the Living Dead Series, this one is in black and white and lacks the subtle humor and action elements of the sequels. More notably, there is as least a Hand Wave given for the zombies (exotic radiation from an exploding space probe), while later movies don't even bother with that. The first zombie seen (and several others afterwards) is also able to move fast (for a corpse), and the zombies are shown to think, use simple tools and display basic life preservation skills (such as avoiding fire, though they don't think much about cars).
    • For that matter, unless you shove fire in their faces (which causes them to snarl), the zombies are completely silent. This is in stark contrast to the loud, ghostly moans they make in the sequels and other subsequent zombie fiction.
    • By the time morning rolls around the situation seems pretty much under control, compared to the Zombie Apocalypse of the later films.
    • In general, the zombies as portrayed in this film are something of a cross-breed of the original African tribal legends of the Voodoo Zombie, and the moaning, groaning Flesh-Eating Zombie type popularised by this film’s sequels and imitators.
  • Emergency Refuelling: The film has a group of people trapped in The Siege with the zombies outside, who have a truck that could help them escape. Unfortunately the truck has no fuel and the gas pump on the outside of the house is locked shut, so a significant side-plot is the frantic search for the keys to the pump's lock all over the house. Once a set of keys that may be the pump's have been found, the survivors implement a plan to refuel the truck. Except they discover, too late, that the keys are not for the pump.
  • Event Title: One of the most famous in history. Just about every modern film that uses "Night of.." or "..of the Dead" in its title are referencing either this movie or its just as famous sequel.
  • Everybody Smokes: Ben and Harry both light up cigarettes to ease their tension.
  • Exactly What It Says on the Tin: It's a movie about a single night during which the dead become alive.
  • Extremely Short Timespan: The title is not using the word "night" in a figurative sense.
  • Fanservice Extra: There's a naked, undead woman shown prominently in two shots... but then again, she's undead.
  • Fire Keeps It Dead: At the end, after the locals have gained control of the situation they burn the bodies of killed humans so they can't rise as zombies and "killed" zombies so they can't rise again.
  • Friend or Foe: In the end, Ben is shot down because the members of the posse think that he is a ghoul.
  • From Bad to Worse: Things really start going to hell beginning with Tom and Judy's death.
  • Full-Frontal Assault: As shown in the poster, there's a brief scene of a naked female zombie among the horde that invade the house. It's shown from behind so you don't really see much.
  • George Lucas Altered Version: In part because of its public domain status, this film has been a popular choice for computer colorization. There are actually three known colorized versions, all radically different from each other, and each tending to be inaccurate in different ways. For instance the version Hal Roach produced in 1985 colored Barbra and Johnny's car yellow, the Anchor Bay version in 1997 colored it blue, and the 2005 version from Legend Films colored it red. The real color of the car? Green. The 1985 and 2005 versions also featured green-skinned zombies while the 1997 version went with regular flesh tones.
  • Get a Hold of Yourself, Man!: At one point Barbra wigs out and tries to go out the front door to "get Johnny". When Ben stops her, she slaps his face, and he responds by punching hers. Subverted in that it actually sends her even further into shock and stupor.
  • Gory Discretion Shot: Sometimes used, sometimes averted. Especially in the original, this shocked audiences who weren't expecting to see so much gore.
  • Gut Punch:
    • The Family-Unfriendly Deaths of Tom and Judy provides the page quote for this trope.
    • The zombie attacking Barbra in the cemetery also counts. The first few minutes of the film are just a brother and sister bickering. We know it's a horror film, but we just assume that the shocks will come later on and this opening scene is going to be Played for Laughs...except, no. That creepy guy really is a murderous zombie. Even if you've seen it multiple times, it's still very jarring.
    • In the cellar, Karen eating her father and stabbing her mother. A totally shocking case of Enfant Terrible, chillingly presented, that horrifies Helen as much as it does the audience.
  • The Hero Dies: Ben is mistakenly shot by zombie hunters.
  • Heroic BSoD: Barbra, who spends half the movie in a catatonic daze.
  • Hollywood Darkness: When the TV reporter is interviewing Sheriff McClelland, they're in bright sunlight even though it's supposed to be the middle of the night. Less blatantly, the scene where Tom and Judy ride out to the gas pump with Ben was clearly shot either just after dawn or just before dusk.
  • Horror Doesn't Settle for Simple Tuesday: The film takes place the night after the dreaded switch to *gasp* daylight savings time.note 
  • Humans Are Bastards: Just watch that ending.
  • Hysterical Woman: Barbra spends half of her time being hysterical until she is knocked out by Ben. She then spends rest of her time in quiet near-catatonia.
  • Ignored Vital News Reports: Just before Johnny gets out of the car at the cemetery, the radio comes back on after having been off the air due to "technical difficulties". He immediately switches it off before learning anything more.
  • Incongruously Dressed Zombie: Undressed, rather: Romero had a nude model wandering around with a morgue ID tag tied to her wrist.
  • Infant Immortality: See Undead Child below.
  • Irony: Cooper orders Helen to go back down into the cellar in the third act, wanting to keep her safe. At this point their daughter has become a zombie. The irony comes that if Helen had stayed upstairs she probably would have survived.
  • It Can Think: Unlike the generally accepted belief about Romero!zombies, perpetuated mostly by the sequels, the ghouls here actually show a fair amount of animalistic intelligence. They understand simple tools (one grabs a rock to smash the window on Barbara's car, others use rocks to clumsily smash the lights on Ben's truck, zombie!Karen uses a trowel to stab her mom to death) and have the ability to move quickly to pursue food. They don't feel pain, as shown when several zombie hands are cut to pieces by the defenders during one attack, but they clearly recognize obvious dangers and have some limited degree of self-preservation, recoiling from bright lights and especially from fire.
  • Jerkass: Cooper, who is loud and abrasive toward everyone. Johnny seems to be a bit of one as well.
  • Jerkass Has a Point: Cooper was right about barricading the basement, as evidenced that Ben (the one most against it) survives the night that way.
  • Jump Cut: There's a blatant one when Harry and Helen are talking in the cellar, because the distributor felt that scene was too long, and Romero was forced to trim it awkwardly.
  • Kill 'Em All: None of the main characters make it through the film alive.
  • Kill It with Fire: Fire is one of the only things zombies are afraid of.
  • Kill the Cutie: And how. Poor, poor Barbra...
  • The Load: Barbra, Judy Rose and Helen are generally useless in the original.
  • Losing a Shoe in the Struggle: Barbra loses both shoes while fleeing the cemetery zombie.
  • Madness Mantra:
    • "You can't start the car, Johnny has the key."
    • "Oh, is it ten to three? We won't have long to wait, now, it's ten to three..."
  • Meaningful Background Event: The very first zombie in the movie can be seen shambling around the cemetery well before it attacks Barbra and Johnny.
  • Mediator: Tom attempts to be one between Ben and Cooper a couple times, with little success.
  • Molotov Cocktail: Harry tosses Molotov cocktails to clear a path to the truck when Ben and Tom make a break for it.
  • Negated Moment of Awesome: Barbara finally snaps out of her catatonia and runs to save Mrs. Cooper from the zombie horde breaking into the house, but is dragged outside to her death almost immediately afterward.
  • Newscaster Cameo:
    • Bill Cardille, a Pittsburgh TV personality best known as Horror Host "Chilly Billy", appears as the TV reporter interviewing Sheriff McClelland.
    • Charles Craig, who plays the primary newscaster in the film, had real-life experience reporting the news on a Cincinnati radio station.
  • Not a Zombie: The first zombie we see in the film is supposed to look like just some random person wandering around the cemetery, until he attacks Barbara.
  • Not Quite Saved Enough: This film is perhaps the prototypical example. In a movie filled with groundbreaking departures from tradition, this trope was perhaps the most significant. After a heroic struggle, Ben is left the only survivor of a night of mayhem and horror in the farmhouse. The next morning he awakes to the sound of a rescue party approaching the house, but as he peers through the boarded-up windows for a glimpse of his potential saviors, they mistake him for just another zombie and perfunctorily shoot him in the head. The movie ends with a sequence of still images of Ben's lifeless, anonymous corpse impaled on a meat hook and dragged to a human bonfire. No one ever knows who he was or what he went through to survive the night . . . of the living dead.
  • Not Using the "Z" Word: The undead cannibals are referred to as "ghouls" or "flesh-eaters" by the radio/TV people and as "those things" by the main characters, but the word "zombie" is never used. In fact, Romero and Russo themselves never thought of the creatures as zombies, since the popular idea of zombie-as-cannibal had not yet been formed, making this a proto-Trope Maker.
  • Novelization: Written by John Russo. Russo also wrote a sequel novel titled Return of the Living Dead where the ghouls return following a catastrophic bus crash, which was later the (very loose) basis for the film of the same name.
  • Nuclear Nasty: Played straight or lampshaded, depending on how you look at the argument between the scientists, after one of them mentions the satellite crash.
  • Offscreen Moment of Awesome: Ben's story of running down zombies with a truck, which would clearly have been far beyond the film's budget to actually show.
  • Ominous Music Box Tune: Barbra finds a music box, which plays a soothing little tune that seems completely at odds with the chaos happening outside the house.
  • Only Sane Man: There's been serious debate about who fits this trope, if anyone does. Ben is the most level-headed and competent character in the movie, who does the most to fight back against the zombies and survive... but he's also wrong about what to do, and his decisions get everyone but him killed. Cooper is an angry, irrational, cowardly Jerkass who at one point threatens Ben with a gun... but he was right about hiding in the basement, even though nobody listened to him. It could be argued, then, that no one in the film is perfectly sane — which is a big reason for the Downer Ending.
  • Our Zombies Are Different: This film invented the modern perception of zombies as cannibalistic monsters — before it, they were voodoo slaves. A keen viewer will also notice that some of the zombies in the beginning don't perfectly fit the "slow, dumb shambler" model that is associated with Romero's zombies. Namely, they reach for a car's door handle, they pick up a rock to smash against a window, they deliberately smash a car's headlights, and oh yeah, one of them runs. The Coopers' zombified daughter also uses a garden shovel to kill her mother, and several zombies pick up tools, such as the aforementioned rock, and one uses Ben's discarded makeshift torch to break down the door.
  • Peek-a-Boo Corpse: One of the more frightening examples is see when Barbra finds the chewed corpse upstairs, considering how well it was done with 60s SFX.
  • Police Are Useless: Subverted with the sheriff's posse effectively taking down the zombies with very little problems. Also an inversion in proving they're a little too good at it when they mistakenly shoot Ben and never realize he wasn't a zombie.
  • Practical Voiceover: Radio and television broadcasts are used throughout the film to outline the contours and extent of the zombie outbreak.
  • Protect This House: The protagonists end up in a house that is besieged by ghouls. They try to prevent the ghouls from entering.
  • Reality Ensues:
    • While averted if one believes that Dawn of the Dead (1978) directly follows this movie, the movie itself plays it straight. Near-mindless slow, clumsy shamblers who can easily be dispatched with a burning torch or a heavy blow to the skull and whose only real strength is in numbers might pose a threat to a dysfunctional, ill-equipped and just plain-out uncooperative group, like Ben's, but against a disciplined, organised, well-equipped group? They get taken down quickly and easily — the ending only works out the way it does because humans elsewhere easily mop up their zombies and are methodically sweeping out and terminating all roving zombies they find.
    • If you think about it, that's actually a subtle element of the horror; the television and radio reports make it clear that people are legitimately fighting off and containing their zombies elsewhere, yet these poor bastards are unlucky enough (and/or dumb enough) that they can't do the same and end up as zombie chow.
    • As annoying as poor Barbra's state of frozen shock for most of the film is to people expecting a proper Action Girl, it's a painfully realistic and perfectly understandable reaction to being attacked by an animated corpse, watching your brother get killed defending you, unexpectedly finding the bloody, mangled remains of a woman in an abandoned house, and spending hours besieged by an army of hungry, moaning zombies. Not everybody would be able to function well under such circumstances.
  • Recycled Soundtrack: The original film's score consisted of stock music from Capitol Records' "Hi-Q" production library, much of which had previously been used in other film and TV soundtracks. The opening credits theme, for instance, was originally used in a Ben Casey episode; other cues were lifted from such earlier B-movies as Teenagers from Outer Space and The Hideous Sun Demon.
  • Red Herring: Barbra is near-catatonic and then spacey. She feels warm, says so and takes her jacket off. She flinches at the fire when Mrs. Cooper lights her cigarette. Despite all this, she doesn't turn into a zombie before getting dragged out of the house.
  • Rule of Symbolism: While Romero maintains that Duane Jones simply gave the best audition and the story was never meant to be a political statement, there's something to say for sure about a story filmed right around the time of the Civil Rights Movement, about the breakdown of societal norms, where the (debatably) Only Sane Man is an intelligent and pragmatic black man, who outlives his companions — a bunch of alternatively hysterical, angry or moronic WASPy suburban white people — and survives the night only to get shot on sight by a hick Southern sheriff. Bonus points for his body being burned in a decade where lynchings were very much commonplace.
  • Scare Chord: A number of them are used throughout the film.
  • Screaming Woman: Barbra.
  • Self-Made Orphan: Zombie Karen eats her father's corpse, then kills and (presumably) eats her mother.
  • Shadow Discretion Shot: Karen's murder of her mother features both this and Gory Discretion Shot.
  • The Sheriff: Sheriff McClelland, who heads the local zombie-hunting posse.
  • Shoot Out the Lock: Upon arrival at the gas pump, the key does not work. Ben simply shoots the lock. One must assume he was inwardly pondering why he didn't think about this sooner when griping about being unable to find the keynote .
  • Shout-Out:
    • Johnny imitates Boris Karloff for his "They're coming to get you, Barbra!" line.
    • Bill Hinzman, who played the cemetery zombie, based his shambling gait on Karloff's in the film The Walking Dead (1936).
  • The Siege: The characters board themselves inside from the zombies outside.
  • Sole Survivor: Probably the best-known subversion in film history.
  • Spared by the Adaptation: In Empire Of The Dead, commissioned by Romero himself, Barbra was saved by Zombie!Johnny who dragged her away from the horde from eating her.
  • Splatter Horror: Romero's efforts to replicate the violence and atmosphere of EC Comics on the big screen shocked audiences of the day and popularized the splatter subgenre.
  • The Stinger: A shot of a burning pile of bodies follows the end credits.
  • Taxidermy Terror: Barbra wanders into the house's trophy room, where the mounted heads seriously freak her out. Although not as much as the corpse. Or the zombie. Or Ben.
    • Of course, given all that Barbra has just been through in the last few minutes, the trophies of dead animals could be a justifiably startling sight.
  • Teeth-Clenched Teamwork:
    • The houseful of strangers are forced to work together until conflict ultimately breaks them apart. This became a defining point of zombie movies, as the living's lack of ability to work together ultimately proves their downfall. Some have interpreted this aspect of the film's story as Romero's metaphor for the difficulties faced by America in The Vietnam War, or the West generally in the Cold War.
    • One powerful Fridge Brilliance interpretation has the film as a metaphor for the Civil Rights Movement. A black man taking the role of hero, variously opposed, aided, betrayed, or ignored in his struggle to survive against the zombie hordes by the white people around him.
  • Those Two Guys: Tom and Judy are pretty separated from the other characters and the story at large. They hardly interact with anyone else but each other, and the only thing very memorable about them is their fiery explosive death and the sloppy zombie clean-up crew.
  • Thematic Series: The sequels that spawned off this movie were all loosely connected.
  • Title of the Dead: While not the first example of the type, this was certainly the Trope Codifier, and countless zombie movies since have used some variant, either as a Shout-Out (Shaun of the Dead) or to Follow the Leader (The Return of the Living Dead series).
  • Too Dumb to Live:
    • Jesus, Tom, how hard is it to work a damned gas pump? Admittedly the hose was too short, he jerked the nozzle towards the truck, the hose ran out, and his hand hit the trigger spraying the gas all over Ben's torch - but anyone who has been to an unfamiliar gas pump once knows to stop the car close enough that even a short hose can reach. He parks a good 20 feet away!
    • Granted, shooting a lock off a gas pump is something a sensible person would probably prefer to avoid if they have a choice.
      • Probably why he didn't do it sooner.
    • Judy, who runs outside out of worry for Tom, and gets locked out by Cooper. Ben and Tom end up having to drag her along. She even inadvertently gets Tom killed, when she gets stuck in the truck. Tom goes to help her just as it blows up, killing them both. Had she not been out there, he would have had no reason to go back to the truck, and they might have survived the events of the movie.
    • Everyone, in a sense. The zombies are slow and could be easily outrun, instead of doing the smart thing and running away, they decide to board the entire house up and let the zombies pile up. Did they ever think about the possibility of the zombies breaking in and having no way out, other than isolating themselves somewhere until there's no place left to run?
    • As Cooper points out, if they're going to use the "barricade ourselves in" plan it makes more sense to fall back to the cellar, which only has one entrance to defend and isn't as easy to break through as the many windows. The ending shows this would have worked.
    • Or they could have gone upstairs, brought all the supplies up there and destroyed the staircase. Zombies being unable to climb, they would be fine, and if they needed to escape they could climb out a window and on to the roof, find a safe location to drop down to the ground and flee.
  • Took a Level in Badass: Barbra gets over her catatonic state and saves Mrs. Cooper from the zombies that grab at her. Unfortunately, it comes at the cost of her own life.
  • Tragic Mistake: Ben, our hero, believes that they must defend the house from the zombies. Harry Cooper, our unsympathetic antagonist, insists that they should flee to the basement and barricade the basement door. Ben wins the argument, but Cooper was right. Ben's plan to defend the house leads to disaster, and after everyone else is killed he does in fact flee to the basement, where he survives the zombies.
  • Ugly Guy, Hot Wife: The Coopers.
  • Unbuilt Trope: The zombies are never once referred to as such and are instead called "ghouls", "flesh-eaters", and so on. They are also somewhat more intelligent than the norm. Also, if this film is taken as its own separate work rather than as part of a series, the problem seems to be quite quickly contained (going by the newscasts) instead of being a truly apocalyptic event. It's also pretty clear that the survivors wipe themselves out through their incompetence and refusal to work together rather than any extreme danger from the zombies.
  • Uncertain Doom: While the obvious intent and most logical implication is that Barbra was Devoured by the Horde, she is not actually seen dead or even being bitten. As such, a few unofficial followups and spin-offs for the film have her surviving in various ways.
  • Unspoken Plan Guarantee: The plan to go out of the house, unlock the pump and refuel the truck is clearly explained to the audience. It fails.
  • The Virus: Ghoul bites spread a deadly infection that cause victims to rise again, but all of the recent dead have risen.
    • In fact, it's arguable whether the bite is actually the cause. There's equal evidence to suggest that the bite merely kills because it's laden with lethal bacterianote  and it's the radiation that started the rise in the first place that causes the plague-killed body to then rise itself.
  • Where the Hell Is Springfield?: The house is a few miles away from the town of Willard, Pennsylvania, which is completely fictional. The only concrete details about the location is that it's around 150-200 miles from Pittsburgh (going by Johnny's mention of a "three-hour drive" back to the city in the opening scene) and you can still receive Pittsburgh TV stations pretty well over-the-air. The cemetery and farmhouse were both actually in Evans City, about a half-hour north of Pittsburgh in Real Life.
  • Women Drivers: Barbra makes it all of about 100 feet in the car before crashing it into a tree. (She was just coasting after taking the emergency brake off. After all, Johnny has the key.)note 
  • The X of Y: Well, there's no "The" in the title, but otherwise it fits.
  • Zombie Apocalypse: Averted, actually. Atypically for a zombie infection movie, the ending shows that the living win the day, and emerge unchanged. Well, until the sequel, anyway...
  • Zombie Infectee: Karen Cooper was bitten by a zombie before she was taken to the basement. After taking a long time dying, she rises up, eats her father's corpse and kills her mother.
  • Zombie Gait: Interestingly averted with the very first zombie that Barbra and Johnny encounter.


Additional examples from the 30th Anniversary Edition:

  • Adaptational Villainy: The first zombie in the film is given a new backstory as a child killer.
  • Bloodier and Gorier: While the gore effects in the original film were quite limited, this version includes a bunch of newly-shot scenes with more explicit gore.
  • Canon Discontinuity: The re-edit seemingly tries to shut Dawn and Day out of the continuity by adding an extra segment to the ending that indicates the zombie plague has been restricted to small, periodic outbreaks, instead of the outright zombie pandemic that wipes out 99.999975% of the world's population by the time of Day. Supposedly this was meant as a lead-in to the subsequent Children of the Living Dead, though neither the events of the theatrical or 30th Anniversary cut are ever referenced in that one, beyond some vague similarities between the cemetery zombie's new backstory and that of Abbot Hayes, the Big Bad of Children.
  • Digital Destruction: Many felt that the restoration job on the 30th Anniversary Edition was actually a little too effective and made the film's low budget painfully obvious, and that the murky public domain prints actually do a lot to enhance the film's mood. That's probably the least of the Anniversary Edition's problems...
  • Dull Surprise: In a new scene added to the film's ending, a reporter interviews Reverend Hicks as a posse goes around shooting zombies in the cemetery, but she does so in a manner that you might expect someone to report on a country fair, not the possible End of the World as We Know It.
  • George Lucas Altered Version: Producer and co-writer John A. Russo oversaw this new version, adding a new score, new special effects, and scenes shot 30 years after the original was released. Harry Knowles threatened to ban anyone who complimented this version on his Ain't It Cool News site.
  • Insane Troll Logic: In his rant at the end of the film, Reverend Hicks says that the dead should be spiked through their hands and feet, as was done to Jesus on the cross, to prevent them from coming back to life. Even though it's clearly meant to be a crazy rant, you'd think Hicks would remember that one of the most famous things about Jesus is the Resurrection, in which he came back to life.
  • Kick the Son of a Bitch: The first zombie seen in the film is revealed to have been a child killer, with the parents of the girl he killed actually volunteering to pay for his burial (instead of having the state cremate him) just so that they could spit on his corpse before it's buried.
  • Possessing a Dead Body: At the end, the unhinged Reverend Hicks declares to a reporter that the zombies are human corpses possessed by demons from hell. This is clearly supposed to be a crazed rant however, and is never proven one way or the other.
  • Shovel Strike: Rev. Hicks is rescued from the first zombie when it gets whacked on the back with a shovel.
  • Sinister Minister: Reverend Hicks has become incredibly unhinged after his near-fatal encounter with the living dead, now convinced that the zombies are demons from hell and a sign of the apocalypse.
  • Too Dumb to Live: Reverend Hicks — who, by the way, is near a dozen or so guys shooting at the zombies with actual weapons — thinks that preaching at one of the zombies (the one that Barbra and Johnny encountered at the start of the film, in fact) will achieve something. Needless to say, it doesn't, and he gets bitten before the other guys take the zombie out. Subverted, as Hicks somehow proves immune to being bitten.


Examples from the 2006 3D remake:

  • Action Dress Rip: Occurs as Barb attempts to flee from a horde of zombies. She doesn't ditch the high heels, though.
  • Adaptation Name Change: Harry and Helen Cooper's first names are changed to Henry and Hellie.
  • Adaptational Nice Guy: Henry in this version is a far more nicer guy than in either the original or the 1990 remake, being perfectly willing to help Barb (even if he does think her story about the zombies is crazy) and provides support to the rest of the crew.
  • Asshole Victim: Gerald Tovar, Jr. Considering he was the one who started the outbreak in the first place, betrays Barb and Ben and tries to turn them into zombies as well, it's hard to feel sorry for Gerald when Barb manages to sick his own zombies on him.
  • Canon Foreigner: Owen and Gerald Tovar, Jr. are the only characters in the film not present in the original.
  • Cassandra Truth: Of course, nobody believes Barb when she fill-on admits that she was attacked by zombies until they start showing up.
  • Death by Sex: Judy and Tom have sex in Henry's barn, in which their sensual moaning end up attracting the zombies. Tom gets Devoured by the Horde trying to save Judy who locked herself in a truck, while Judy herself gets half of her face eaten off by a zombie that managed to grab her through the back window.
  • Evil All Along: Gerald reveals that he was the one who created the zombies in an attempt to bring his father back to life.
  • Hoist by His Own Petard: Gerald gets devoured by the very same zombies he created.
  • In Name Only: Apart from the farm setting, character names, and opening sequence, this film has very little in common plotwise to the 1968 original.
  • Kill 'Em All: Nobody in the film survives.
  • Only Sane Man: Or "woman" in this case, as Barb is the only character in the film with an ounce of common sense. Ben too, but to a slightly lesser extent.
  • Race Lift: Ben is African-American in the original, but is white in this version.
  • Show Within a Show: Various characters are shown watching the original 1968 film on television.
  • The Stoner: Everyone on Henry's farm, on accounts of him being a weed farmer in this version. Owen is probably the most noteworthy example, who smokes a blunt for most of the first half of the film.
  • Title of the Dead: Like the original film.


 
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Alternative Title(s): Night Of The Living Dead 3 D

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Night of the Living Dead

Suddenly the dead have come back to life and now are eating the flesh of the living.

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