La pelicula de los muertos vivientes en español completa

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In a cemetery in Pennsylvania, Barbara (Judith O’Dea) is attacked by an undead. Terrified, the young woman flees to a farm, where Ben (Duane Jones) has also taken refuge. Together they will try to survive inside that isolated farmhouse, defending themselves from a multitude of ruthless undead that, for an unknown cause, have come back to life chasing and attacking the living to feed on them, starting a zombie apocalypse.Cult film that gave birth to the subgenre of zombie films, and was the directorial debut of George A. Romero. It stars Duane Jones, Judith O’Dea and Karl Hardman.

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The original script was 200 pages long and was considerably more complex and ambitious. It showed new plot lines with respect to previous films, such as the training of zombies to fight against other zombies. This script was refined in five versions, each time smaller and smaller, and finally condensed into just 88 pages. Most of the plots that were not shown, due to budgetary constraints, were carried over to the next film in the Land of the Dead saga (2005).

Due to the distance of the mine from other towns, the crew and cast had to stay nearby during filming. It should be noted that, due to the high temperature and humidity conditions in the mine, there were failures in the filming equipment and problems to properly maintain the make-up and effects created by Tom Savini. Nevertheless, Savini’s work was recognized with the 1985 Saturn Award for Best Makeup.

The extras appearing as zombies, including the dean of Carnegie-Mellon University and his wife, were recruited in Pittsburgh. Preference was given to those who had previously appeared in any of the films in the saga. In addition to getting $1, the extras received a hat with the emblem «I was a Zombie in The Day of the Dead.»[5] The extras also received a hat with the emblem «I was a Zombie in The Day of the Dead.»[5

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First, its condition as a blank canvas on which to capture the current fears of society. From «The monster is evil» to «No, wait, we are the monster», passing through «It’s society’s fault for all these monsters», zombies have managed to reflect like few creatures in horror movies the fears that palpitate among the spectators, sometimes unconsciously. They have been the protagonists and the backdrop, and have featured in action films, comedies and indie metaphysical horror. No genre, style or subject matter can resist the fickle undead.

The second reason for their eternal timelessness is that they appeal to our most ancestral fear: the impossibility of resting in peace. The dead who won’t stay dead is the ultimate existential aberration, and it has taken many forms, from the impossibility of reaching God to seeing ourselves condemned to a life of eternal despair and hunger, passing through the classic panic of being buried alive. There is nothing more essential and primal than the living dead, and although vampires or Frankenstein’s Creature also play with the concept, the zombie is its essential incarnation.

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In an interview he gave to the BBC in 1987, George A. Romero confessed that he had chosen October 1, 1968 to release his now classic film for a simple reason: «I wanted teenagers to see it more than once during the month». However, what seems like a cruel joke is actually part of the director’s vision for a film that would come to recast the horror film genre to create one of its own.

If you’re a fan of The Walking Dead and The Last Of Us, the haunting, harsh and sinister look at the nature of the zombie will be familiar: Night Of The Living Dead is a foundational work of cinematic history that is underpinned by its ability to give the quality of the monster a political meaning. The director was inspired by the racial and political tension in America in the late 1960s to reflect on the true horrors of the country.

It was a coup, combining a horror story with sinister overtones, black humor and, in particular, a subverted version of reality in which the zombies were the symbol of the collective fears of a country confronted with its own historical wounds. For Romero, horror was more than gothic castles and fragile-looking ghosts: with its groundbreaking air, the film debated contemporary ideas through a powerful argument and managed to bring genre films to a new debate about their discourse and the way in which they could be part of pop culture.