Between the two Dead films, Romero had directed four features, a featurette that was shelved by its financiers, and a series of sports documentaries on television, and two of those features - The Crazies from 1973 and Martin from 1977 (the film where he first worked with Savini) - are essential works in their own right. These are, indeed, both two of the very best horror films ever made, the crown jewels of an exceptionally strong career. The most copy-resistant element of the film, though, is the same that Night had: it is an extraordinary piece of filmmaking. This despite being considerably harder to ruthlessly copy: instead of Night's combination of a single family house and offal, Dawn draws much of its success from one of the most idiosyncratic locations in genre film history, and the irreplaceable effects makeup artist Tom Savini, better than anybody else in his generation at getting gut-churning results out of hardly any money. For while Night inspired its share of copycats throughout the 1970s (as a film will when it demonstrates that kind of return-on-investment for a production that literally anybody with access to a camera and a butcher shop could throw together), Dawn inspired a bona-fide cottage industry, particularly in Europe. But I think the reason that the zombie film turned into an unstoppable subgenre that remains lively (as it were) after several uninterrupted decades owes more to another Romero film, from ten years later: Dawn of the Dead, a kind of thematic sequel. Romero invented the modern zombie film more or less entirely out of thin air with 1968's Night of the Living Dead. It is a common observation and an accurate one that independent Pittsburgh-based director George A.
Also check out my review of the Italian cut
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