“What we do know, is that in order to become sick you have to first come in contact with a sick person or something that they touched. In order to get scared, all you have to do is to come in contact with a rumor, or the television or the internet.”
Sound familiar? No, it’s not a ripped-from-the-headlines excerpt from a CDC speech. It’s a quote from “Contagion,” Steven Soderbergh’s 2011 all-star “Towering Inferno” of germ movies.
If “Jaws” kept people out of the water “Contagion” should have kept them from touching their faces. The average person touches their face upwards of 3,000 times a day, and in the world of “Contagion” everything that comes in contact with your skin — an elevator button, a glass at an airport, a handrail on a ferry — could be fatal. In our world of big diseases with little names like COVID-19, SARS and H1N1, germs are the new Frankensteins.
The movies have used microscopic germs and viruses as bogeymen for years, leaving us with a plethora of topical films to stream during quarantine and self-isolation.
“28 Days Later” begins with a great horror movie premise. A group of British activists free infected animals from their cages, unleashing a deadly “rage” virus on the human population. It is a full-blown Halloween flick, complete with drooling angry zombies, (although most of the horror here is psychological) but at its core it is also a compelling study of human nature and the will to survive.
“The Crazies,” a remake of a 1973 George A. Romero film, is the story of a virus that turns the inhabitants of a sleepy Norman Rockwell town into koo-koo bananas killers. It’s a classic tale of “us” versus “them”, with an extra “them” thrown in for good measure.
“Pontypool” is about a disease that turns regular people into flesh eating creeps, but it’s more about how they became that way than the eerie aftereffects of the sickness. Set entirely inside a small radio station in the basement of a church, the story focuses on announcer Grant Mazzy (Stephen McHattie), his producer Sydney (Lisa Houle) and call screener Laurel Ann (Georgina Reilly) who use eye witness accounts to slowly piece together the horrible story that is happening outside their doors. When the reports turn ominous Mazzy realizes he is at the center of a big story and keeps broadcasting. What he doesn’t realize is that, perhaps, he is helping to spread the disease.
“Pontypool” is a movie set in a radio station that plays like a radio show. By and large the action is described and for once the old cliché that what you can’t see is more terrifying that what you can actually see rings true. Couple that with a mounting sense of doom and you have an edge of your seat thriller.
“Outbreak” features germs of a less speculative type. Dustin Hoffman, Rene Russo and Morgan Freeman star in this 1995 film about an outbreak of a fictional Ebola virus called Motaba spread in the States by a white-headed capuchin monkey. If the contagious simian looks familiar, no wonder. It’s Betsy who also appeared as Ross’s pet Marcel on “Friends.” The sitcom spoofed Betsy’s work in the disaster flick by showing the monkey on a poster for a fictional film called “Outbreak 2: The Virus Takes Manhattan.”
Michael Crichton dreamt up the idea for “The Andromeda Strain” when he was still a medical student. The story of a deadly alien virus was inspired by a conversation with one of his teachers about the concept of crystal-based life-forms. His novel was a bestseller and the author — who would later go on to write the sci-fi classics “Westworld” and “Jurassic Park” — actually makes a cameo appearance in the hit 1971 film of the same name. He can be seen in the scene where the star of the movie, Dr. Hall (James Olson), is told to report to the government’s secret underground research facility to study an outbreak of a deadly extraterrestrial microorganism in Arizona.
More down to earth is “The Cassandra Crossing,” a big budget disease-on-a-train flick. This time it’s not an extra-terrestrial virus, but a plague contaminated terrorist starting all the trouble. Structured like a “Love Boat” episode, with an all-star cast that mixes and matches Sophia Loren with O.J. Simpson, it has none of “Andromeda’s” serious edge, but for sheer cheesy fun it can’t be beat.
Medical mayhem rules in “Warning Sign,” where an experimental virus turns people (including “Law and Order’s” Sam Waterston) into rage filled maniacs, a plot echoed in “Resident Evil” when a virus gets loose in a secret facility. “The T-virus is protean,” says the Red Queen, “changing from liquid to airborne to blood transmission, depending on its environment. It is almost impossible to kill.” “The Thaw” sees Val Kilmer unleash a prehistoric plague when he discovers a diseased Woolly Mammoth carcass. Eli Roth gave new meaning to the term cabin fever in his virus movie of the same name and the film “Doomsday” sees most of Scotland devastated by a deadly germ.
Predating all of them was “Panic in the Streets,” a low-budget film noir set in 1950s New Orleans. In it, a doctor and policeman (Richard Widmark and Paul Douglas) have just 48 hours to track down an illegal immigrant infected with pneumonic plague and stop a possible eruption of Black Death. Made during the Cold War, the rapid spread of the infection plays like a paranoid metaphor for the proliferation of Communist ideology. Despite this subtext, director Elia Kazan said: “This isn’t very deep. It has other virtues. It has lightness of foot, it has surprise, it has suspense, it’s engaging.”
These days watching the news can feel as though we’re watching a scene from one of these fictional bacteriological horror movies come to life. As alarmist as the films may be, they occasionally offer up some good, simple advice in the face of a pandemic: “Stop touching your face, Dave,” says Dr. Erin Mears in “Contagion.”
28 Days Later begins with a great horror movie premise. A group of British activists free infected animals from their cages, unleashing a deadly “rage” virus on the human population. Twenty-eight days after the virus took hold of the city, a bicycle courier named Jim awakens from a coma, unaware of the devastation. In one of the year’s best cinematic sequences, horror or otherwise, Jim leaves the hospital to find a deserted London. Director Danny Boyle (Trainspotting, Shallow Grave) infuses the shots of the empty streets with a sense of dread. As Jim wanders through the vacant Piccadilly Circus the feeling of foreboding grows as he realizes that something catastrophic has happened here. And that’s just the first ten minutes. (The scenes of London’s deserted streets were shot just after dawn on weekdays. Because of the traffic, they could only shoot for a couple of minutes each day. Crewmembers frequently had to stop and ask clubbers not to walk into shots.)
Boyle deftly juggles two distinct ideas in 28 Days Later. It is a full blown Halloween flick, complete with drooling angry zombies, (although hard-core gore fans will be disappointed, most of the horror here is psychological) but at its core it is also a compelling study of human nature and the will to survive. Each character is fully rounded, and none are superfluous in this tough drama.
Selena (Naomie Harris), for example, isn’t a damsel in distress, nor is she simply a hard-nosed zombie killer. She is a layered character, a normal person who is placed in an unimaginable circumstance and is dealing with it on an instinctual level. She isn’t a killer, but she’ll kill to survive. “Staying alive is as good as it gets,” she says grimly.
Boyle (and screenwriter Alex Garland) give a wide berth to the stereotypical character traits found in horror movies – the screaming girlfriend, the witless teen, the gung-ho monster slayer – and instead concentrate on developing believable characters and situations in an unbelievable scenario.
In addition to believable characters 28 Days Later also re-invents the cinematic zombie. Gone are the lumbering, “We’re coming to get you,” living dead from years past. Boyle’s ghouls move with frightening speed, hissing at the scent of human flesh, and attacking at random. These are the zombies that nightmares are made of.
Shooting on digital video this time out, Boyle has left behind the visual showiness of Trainspotting and the austere picture-postcard look of The Beach, trading those in for a grainy, almost documentary feel. The jagged feel of the video gives the movie a sense of urgency and energy which seems appropriate for the subject matter. Unlike Soderbergh’s Full Frontal this material actually benefits from the use of video.
28 Days Later runs out of steam as the third act winds down, but up until its closing minutes it is as good as speculative fiction gets.
Without Night of the Living Dead movies like 28 Days Later, Shawn of the Dead or even Zombie Strippers wouldn’t exist. In 1968 the story of story of people trapped in a rural Pennsylvania farmhouse trying to survive an attack by reanimated ghouls dragged a bloody new horror genre into the marketplace. For better (see Re-Animator) and for worse (see Zombie Nightmare) the movie Rex Reed called “a classic” has spawned four decades of brain eating and head explosions, but according to the film’s co-author John Russo the origin of the idea was anything but sinister.
“Sometime in the winter of 1966 George Romero and I were having lunch with Richard Ricci,” says Russo, then a co-partner with Romero and Russell Streiner (who has the film’s most famous line, “They’re coming to get you, Barbara!”) in The Latent Image, a commercial television production house. “George and I were complaining about the fickleness of our commercial clients who, when they had not too much money to spend, would come to us for a good, creative job on their spots and sales films, and would promise to come back to us next time, when they would have more money to spend. But when they got more money they’d run away to the supposed glitz and glamour of New York or Hollywood. Richard said, ‘So why don’t you do something about it?’ I thought about it and said, ‘We oughtta be able to make something better than the crap we see on Chiller Theater.’
“George right away got excited, slammed the table with his big hand, sending bottles and glasses flying, and yelled, ‘We’re gonna make a movie!’”
The two batted around several ideas. One, titled Monster Flick, was a horror comedy about teenage aliens, while another focused on flesh eating aliens. “But we quickly discovered that we could not afford all the necessary special effects,” he says, so the writing continued.
“We’d go to work late at night in separate offices, at separate typewriters,” says Russo. “I said right away that our story should start in a cemetery because folks found cemeteries spooky. I was working on a script that started in a cemetery and involved aliens coming to earth in search of human flesh. But George took a break at Christmas time and came back with half of a story that started in a cemetery, and was in essence what became the first half of Night of the Living Dead. There were all the proper twists and turns and a lot of excitement, but George never said who the attackers were or why they were attacking.
“I said, ‘I like this, George, but who are these attackers? You never say.’ And he said he didn’t know. So I said, ‘It seems to me they could be dead people. But why are they attacking? What are they after?’ Again, he said he didn’t know. So I said, ‘Why don’t we use my flesheating idea?’ And he agreed.
“So that’s how the modern flesheating zombies were born!”
The film, titled Night of the Flesheaters, was shot on a shoe string budget—Bosco Chocolate Syrup and pig’s intestines subbed for real blood and guts—in rural Pennsylvania between June and December 1967. Once finished, Russo and Romero had a hard time selling the movie because of its unflinching violence and gory special effects. The pair stuck to their guns, however, denying distributor after distributor who demanded cuts or a happy ending. Finally they found a company who would show the film uncensored but there was still a problem.
“There was already a movie called Flesheaters, and their attorney threatened us, so we had to come up with a different title,” says Russo. “George Romero decided on Night of Anubis, after the Egyptian god of the dead. This was a weak title, and when Continental Pictures got ready to distribute we changed it to Night of the Living Dead.”
The movie premiered on October 1, 1968 earning a rave from Roger Ebert and that other mark of success for a horror film, condemnation from fundamentalist Christian groups.
These days it doesn’t take a lot of braaaaaaaaaaaaaaaains to see the legacy of Night of the Living Dead. The ghoulish story is considered a classic, has spawned comedies like the box office hit Zombieland and serious television shows like The Walking Dead and was even selected by the Library of Congress for preservation in the National Film Registry as a film deemed “culturally, historically or aesthetically significant.”
“We were absolutely dedicated toward making a movie that was true to its premise and the motivations of its characters, from start to finish,” says Russo, adding, “[the movie] struck a primal chord in everybody, perhaps because of the atavistic memory of our species as easy prey for wild beasts, which we were for most of human history. We all carry the deep-seated fear of being devoured.”
28 Days Later begins with a great horror movie premise. A group of British activists free infected animals from their cages, unleashing a deadly “rage” virus on the human population. Twenty-eight days after the virus took hold of the city, a bicycle courier named Jim awakens from a coma, unaware of the devastation. In one of the year’s best cinematic sequences, horror or otherwise, Jim leaves the hospital to find a deserted London. Director Danny Boyle (Trainspotting, Shallow Grave) infuses the shots of the empty streets with a sense of dread. As Jim wanders through the vacant Piccadilly Circus the feeling of foreboding grows as he realizes that something catastrophic has happened here. And that’s just the first ten minutes. (The scenes of London’s deserted streets were shot just after dawn on weekdays. Because of the traffic, they could only shoot for a couple of minutes each day. Crewmembers frequently had to stop and ask clubbers not to walk into shots.)
Boyle deftly juggles two distinct ideas in 28 Days Later. It is a full blown Halloween flick, complete with drooling angry zombies, (although hard-core gore fans will be disappointed, most of the horror here is psychological) but at its core it is also a compelling study of human nature and the will to survive. Each character is fully rounded, and none are superfluous in this tough drama.
Selena (Naomie Harris), for example, isn’t a damsel in distress, nor is she simply a hard-nosed zombie killer. She is a layered character, a normal person who is placed in an unimaginable circumstance and is dealing with it on an instinctual level. She isn’t a killer, but she’ll kill to survive. “Staying alive is as good as it gets,” she says grimly.
Boyle (and screenwriter Alex Garland) give a wide berth to the stereotypical character traits found in horror movies – the screaming girlfriend, the witless teen, the gung-ho monster slayer – and instead concentrate on developing believable characters and situations in an unbelievable scenario.
In addition to believable characters 28 Days Later also re-invents the cinematic zombie. Gone are the lumbering, “We’re coming to get you,” living dead from years past. Boyle’s ghouls move with frightening speed, hissing at the scent of human flesh, and attacking at random. These are the zombies that nightmares are made of.
Shooting on digital video this time out, Boyle has left behind the visual showiness of Trainspotting and the austere picture-postcard look of The Beach, trading those in for a grainy, almost documentary feel. The jagged feel of the video gives the movie a sense of urgency and energy which seems appropriate for the subject matter. Unlike Soderbergh’s Full Frontal this material actually benefits from the use of video.
28 Days Later runs out of steam as the third act winds down, but up until its closing minutes it is as good as speculative fiction gets.
“What we do know, is that in order to become sick you have to first come in contact with a sick person or something that they touched. In order to get scared, all you have to do is to come in contact with a rumor, or the television or the internet.”
