George A. Romero forever changed the way we look at the concept of zombies. When he delivered his now-iconic Night of the Living Dead, many had no idea how big of an impact that little film would have had on modern horror. The film was made for $114,000 and turned a profit of $30 million. Subsequently, the film launched multiple sequels, comic books, and even a few different remakes of not just the original film but its subsequent sequel, which saw a 2004 big budget remake from a young Zack Snyder. Romero has inspired countless direct to video films, comic books, and most notably the juggernaut that is The Walking Dead.
Romero has moved on past the undead, having had a hand in the creation of both the Creepshow movie, along with Stephen King, from the 1980s, as well as cult classics like Monkey Shines and Tales from the Darkside. Romero proved himself to be a talented individual that one could argue was ahead of his time in multiple ways. Take the latter movie, for example, Darkside and Creepshow were both anthology films. Both were released at a time when films like them hadn’t reached the cultural status that Black Mirror, V/H/S, or Trick R’ Treat have had in our modern day. Even the former acknowledgement of him paving the way for the modern notion of zombies proved that he was indeed ahead of his time.
Made in 1968 on a paper thin budget, Romero would continue to pioneer zombie films even into the 21st century. The director would follow up his break out with his only romantic comedy in his entire career. 1971’s There’s Always Vanilla is the one spot on Romero’s career that the director considers to actually be his worst. In 1973 the director returned to the horror genre with not one but three films that year, one of which he would go on to remake, and direct, in 2010. One of those films however was said to be lost to time until the George A. Romero Foundation teamed up with Shudder to restore the film to its original glory. The Amusement Park might be Romero’s shortest film to date but it packs a punch all the same. Park is stylized through a PSA format on how we treat the elderly and lower class as a man (Lincoln Maazel) makes his way through an amusement park.
The Amusement Park proves that Romero, as previously stated, was ahead of his time. Romero made a film about how we treat our elderly and lower class when he was a mere 33 year old. Park allowed Romero to experiment in multiple different ways. The film’s own psychological atmosphere is simply stunning. While the film is vocal about our own societal tendencies, the way in which the film ends opens another door entirely. This is the genius of Romero as a storyteller: he is able to be direct with the viewer but still leave you with something else entirely. The thing that I found myself respecting so much about The Amusement Park was how layered the film is.
It’s so artistically simple but yet somehow to manages to crawl under your skin. Maazel is the only actor we follow through the 52 minute duration. He seemingly plays three different roles throughout the entire film. His performance equally impacts so much of what Romero is doing behind the screen. What helps this film stand out incredibly well is how it weaves multiple different genres together. The film manages to impact viewers through its drama throughout the course of the film. Its psychological horror, woven throughout, allows the film to stay with you, or dare I even say, challenge you long after the credits roll. Even more than that the film reserves several portions of its narrative to be silent. Audiences are treated to silent film era drama alongside its modern roots. Perhaps the most daring aspect of this film is its tendency to dance into the exploitation subgenre that was popular at its original time of release.
Overall, George A. Romero’s The Amusement Park demonstrates a bold vision originally thought lost to the grave. Fortunately now it is restored in all of its glory. The film is hauntingly beautiful, troubling to experience, and psychologically wedges itself into your psyche. George A. Romero proves himself a master of his craft with this one. The Amusement Park is a quick, brilliant film, but it haunts you long after.
RORSCHACH RATING:
Mental Health Moment:
“What one really needs is a friend.”
There comes a point in the movie where our protagonist finds a seat on a bench after some fairly chaotic events. Once there, a man sits beside him and says the line quoted above. Community really can change everything. It’s something so incredibly simple but so influential and effective. We were never designed to be alone. Your community matters to your mental health. While I want to stress the importance of community, I equally want to stress the importance of the right community. The second factor in finding a group of friends is to make sure that they are going to be beneficial to your mental health. Sometimes you can find people to hang out with, and they change your personality for the worst and ultimately end up bringing harm to your mental health rather than healing. You do need a friend, just make sure it’s the right one.
If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. George A. Romero’s The Amusement Park is property of Shudder and the George A. Romero Foundation. We do not own nor claim any rights.
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