Dr. Conrad H. Blickenstorfer, Ph.D. explains it perfectly while discussing MIL-SPEC standards for laptops.
As usual with Romero’s zombie films, there’s plenty of thematic meat to chew in Day of the Dead. Trapped in an antiquated WWII bunker, a group of military and scientific professionals attempt to survive the rise of the undead in two familiar fashions: with reactionary force and intellectualism, respectively. A horror legend with unimpeachable liberal credentials, Romero favors the intellectuals, though one of them, Dr. Logan (Richard Liberty), is also crazy, betraying the barbarous military to use the corpses of slain soldiers for experiments. Which is to say that Logan is a resonant right-wing nightmare of the intellectual who’ll sell his country out for knowledge that might not even matter, yet Day of the Dead is more stimulating to discuss than to watch. After a promising opening, which features a few of Romero’s most graphic and iconic images, the film goes to sleep. The characters are caricatures, which is a stark departure from the fascinating humans of Night of the Living Dead and Dawn of the Dead, and so one’s inspired to impatiently await for the carnage to arrive.
I thought I’d share my findings with you to show you that we prisoners aren’t deadbeats — our days are, in fact, incredibly full.
One of Romero’s most purely enjoyable films is also one of the great comic-book movies, approximating the tactile act of reading and flipping through a magazine, ideally on a rainy Saturday afternoon with a can of soda by your side. Romero directed from Stephen King’s original script, which pays homage to EC comics like Tales from the Crypt and The Vault of Horror, and the filmmaker displays a visual confidence and tonal flexibility that’s reminiscent of Dawn of the Dead. The bright, deep, and garish cinematography is both beautiful and disturbing, enriching King’s gleefully vicious writing while providing a sturdy framework for the lively performances of a game cast. The film straddles an ideal line between straight-faced seriousness and parody, particularly in the eerie climax of a story in which one can hear the pained gurgling of aquatic zombies.
Luke’s mother, Benita Hampton, spent much of her youth in neighboring Ashe County, where she plucked chickens and raised horses. Her father served in the Army, her mother was a homemaker and her grandmother worked for a country restaurant baking 3,000 biscuits each morning for 35 years. Benita envisioned opening her own restaurant, where her three sons would work.
In a fit of delusion, 90-year-old Jewish former schoolteacher Daisy Werthan (Jessica Tandy) reaches out for her black chauffeur, Hoke Colburn (Morgan Freeman), and professes that he’s her BFF. Until this point, Miss Daisy has been all sorts of mean, accusing him of stealing a 33-cent can of salmon and cruelly prohibiting him from seeing Martin Luther King speak at a dinner she’s attending. She can’t even let Hoke piss without complaining. That it takes the loss of her sanity for Miss Daisy to finally say something heartfelt to her decades-long caretaker is an irony completely lost on Driving Miss Daisy. This is because writer Alfred Uhry never clarifies why Hoke would accept Miss Daisy’s word as truth. At best, Hoke feels sorry for Miss Daisy’s deteriorating mental state; at worst, Stockholm syndrome keeps him in the orbit of someone who could only appreciate him when she wasn’t lucid. Either way, he’s stuck with her out of obligation, like a freed slave who stays on the plantation to help his master. The film never realizes its racial harmony is really racial subservience because it’s too busy patting itself on the back. And while one can’t really complain about the acting, nothing less than all-encompassing rage should break out whenever one considers that this won best picture while Do the Right Thing wasn’t even nominated. Driving Miss Daisy is the cinematic equivalent of an ally paying nothing but lip service. Odie Henderson
Iowa’s Thunder Creek Equipment manufacturer has upgraded its Fuel and Service Trailers (FST) with a series of improvements. The FST platform now includes a re-engineered tank design that increases short- and long-term durability. The FST class trailers also boast a redesigned front-end that reduces dust and debris inside the trailer’s main chassis.
1. Nashville (Robert Altman) 2. Deep Red (Dario Argento) 3. Fox and His Friends (Rainer Werner Fassbinder) 4. Jaws (Steven Spielberg) 5. Welfare (Frederick Wiseman) 6. Xala (Ousmane Sembène) 7. Mother Kusters Goes to Heaven (Rainer Werner Fassbinder) 8. Thundercrack! (Curt McDowell) 9. Promised Land (Andrzej Wajda) 10. The Day of the Locust (John Schlesinger)
John Ford’s masterpiece ends the way it began; as the tale starts, a door opens in darkness to reveal the light and majesty of the Old West landscape outside. And as the film comes to a close, that same door is shut, the story over, while John Wayne’s antihero Ethan Edwards is left alone on the outside, walking off in the distance.
Other paintings follow a similar evolution. Images of bulls defending themselves against bullfighters attain the primordial cubist violence that was among Picasso’s hallmarks, as the artist splinters bull and man into overlapping shards of imagery and color. And a canvas with a large chicken gradually becomes an almost demonic human face—with the chicken somehow residing underneath it, giving the face and the image overall a subliminal texture.
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It was his independence that defined him. He fell in love with wrestling because he had only himself to rely on. At 5, Luke drew Benita a painting of a butterfly, with a message. "I am a little butterfly. I have a good mom and dad. But I am big now. I can take care of myself."
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