SHAUN OF THE DEAD (2004): A Cinema Scholars Review

Introduction

Film audiences have always loved a little humor mixed in with their terror. Straight-forward horror rules the genre. However, when a filmmaker strikes that perfect balance between giggles and gore, there is no denying that a special kind of cinematic magic is created.

Trailblazers

As early as the silent film era, trailblazers like Buster Keaton and Harold Lloyd, with their respective short films The Haunted House (1921) and Haunted Spooks (1920) began incorporating their comedic genius into the genre.

Laurel and Hardy and others famously joined forces with the Universal monsters throughout the 1940s and 1950s. By this time, this sub-set of horror was already well-established within the industry.

The 1980s and 1990s saw a plethora of scary movies with a comedic bent. From campy forays like Saturday the 14^th (1981), up to Wes Craven and Kevin Williamson’s game-changing Scream (1996). Audiences worldwide have practically come to expect a bit of humor with their horror.

Shaun of the Dead

With his gleefully clever film Shaun of the Dead (2004) writer-director Edgar Wright (along with stories and ideas from Simon Pegg) kicked off the early 21^st century with one of the more brilliant entries in this catalog.

Wright was already well-known for film and television projects in his native UK. He subsequently called on previous collaborators Nick Frost, Simon Pegg, and producer Nira Park, to assist him in his foray into the genre world. The trio had already worked with Wright on the hit TV show Spaced. Their undeniable chemistry set a great tone for the future instant classic.

Incidentally, Wright and his Shaun of the Dead colleagues continued their collaboration with two more films. These were unofficially dubbed the “Cornetto Trilogy,” as each film gives a nod to the popular British ice cream dessert.

The Cornetto treat doesn’t loom as large in Wright’s follow-up efforts Hot Fuzz (2007) and The World’s End (2013). And the context of the buddy stories is different. However, the re-teaming of Pegg, Frost, Wright, and Park in the subsequent films is enough for cinephiles to categorize Shaun of the Dead as part of one of cinema’s more clever thematic trilogies.

With his zombie-packed leadoff, Wright and company most definitely hit it out of the park with this celebrated and cherished effort. Wright and Pegg would complete the screenplay in eight weeks. Wright also pays homage to zombie legend George Romero (Night of The Living Dead, Dawn Of The Dead) throughout the film.

Synopsis

The film follows the lead character “Shaun” (Pegg), a twenty-something who is, much to the chagrin of his girlfriend, quite content with the same boring daily routine. One that usually ends at his beloved pub, The Winchester. This lack of ambition and general wherewithal has caused Shaun’s most recent relationship to flounder.

Shaun is egged on by “Ed” (Frost), Shaun’s best friend and partner in the sedentary life. Appearing to have little motivation to make any positive changes in his life, a zombie plague hits Shaun’s town, turning everything upside down.

Some sort of affliction has caused the recently deceased to be reanimated. As a result, the streets of Shaun’s former ho-hum neighborhood have been transformed into a hellscape of ravenous flesh-eaters.

Shaun finds himself the reluctant hero to his band of friends and family. This includes ex-girlfriend “Liz” (Kate Ashfield). They make their way across town to (you guessed it) The Winchester. Shaun rises to the occasion and secures the safety of his loved ones. Even if he must go through several hilarious hiccups along the way.

Discussion

There is absolute magic in this perfect balance of humor and turmoil. Edgar Wright nails this equilibrium in every frame of Shaun of the Dead. He somehow manages to keep an overall jovial vibe without betraying the morose danger that the characters face at every turn.

There’s a wonderful trick in cinema where a feeling of dread escalates to the brink, and is inappropriately resolved with a comedic twist. Sometimes we can’t help but laugh at something terrible. Shaun of the Dead not only embraces this anachronistic virtue, but it also raises it high above its head and cheers.

Amid all the horror and heroism lies a poignant story about loyalty and friendship. Though Shaun challenges, and is in return challenged, by those who surround him, there’s a sense of dedication about what matters. It’s ultimately what makes the film tick.

Every relationship, be it romantic, platonic, or familial, has its share of ups and downs. In the context of a zombie plague, a person’s priorities become crystal clear. In Shaun’s case, it also serves as an acute reminder that life is short.

The Cast

Simon Pegg as Shaun is note-perfect as the unwitting hero. This shouldn’t be entirely surprising since he co-penned the script with Wright. His take on the character is the perfect blend of irreverence and bravery, with equal parts hesitation and follow-through.

Nick Frost as Ed is perfect as that needy friend who, despite his most honest efforts, holds you back when you are finally trying to get ahead. Though he is mostly bumbling throughout, it’s Ed who ultimately shows Shaun what loyalty means.

Several supporting performances elevate the film beyond any typical outings of the sub-genre. But it’s Bill Nighy (the Pirates of the Caribbean franchise), Shaun’s much-maligned stepfather “Phillip” who stands out as one of the more inspired performances.

The whole dynamic between Shaun, his mother “Barbara” (Penelope Wilton), and Phillip’s pseudo-patriarchal charge is unique and yet another reason to scream from the rooftops about this film’s virtues.

With a wink and a nudge, Wright also righteously pays homage to other actors he has worked with. Jessica Hynes of Spaced as well as Martin Freeman of The Office pop up in a clever cameo that nods to their Shaun of the Dead cast member counterparts from their popular TV roles.

Additionally, Wright also acknowledges his zombie genre predecessors with a series of subtle references. “Fulci’s Italian Restaurant” shows reverence to the Italian gore master Lucio Fulci (Zombie).

Also, a character referred to as “Ash” in another scene is a nod to the iconic hero in Sam Raimi’s opus trilogy The Evil Dead. These are just a couple of samples of the many tributes to the horror gods that Wright included throughout the film.

Conclusion

All in all, Edgar Wright and his cronies have crafted one of the most enjoyable horror/comedies of the new century. Wright and company have certainly thrown down the gauntlet when it comes to achieving that perfect blend of hair-raising and humor.

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