by DEB KAVIS
The 1993 zombie film, RETURN OF THE LIVING DEAD 3, is a cult masterpiece from top to bottom. Speaking of bottoms, the film is brimming richly with a delicious menagerie of kinky imagery and fetishistic fodder.
In an opening scene, for example, we see the first experiment with the Trioxin treatment performed. For reference, in prior RoTLD films,
Trioxin is the substance used to reanimate the dead, creating zombies. The cadaver the government officials are experimenting on is contained in the laboratory, rigged in an almost bondage-style pose. Upon “awakening”, the reanimated corpse attacks a lab assistant, thus infecting them. Upon witnessing the carnage, one of the government officials commands another lab hand to “strap that damn thing down before it wakes up again”. See what I mean?
It’s not much of a stretch to suggest that these government guys must have some sort of TPE (“total power exchange”) kink. It seems that they are most assuredly getting off on playing god, until, of course, it comes back to — quite literally — bite them in their collective ass. While I will grant that there are those who enjoy that kind of play, how about we get down to the heart (and parts otherwise) of this film, shall we?
Our main gal, Julie (played by the incomparable Melinda Clarke), is killed in a motorcycle crash at the beginning of the movie. Distraught, her boyfriend reanimates her corpse using that same Trioxin treatment – you remember, the one that worked oh-so-well the first time around? Upon reanimation, Julie finds herself battling a near insatiable taste for human flesh. This craving is only quelled, she finds, by inflicting extreme bouts of pain upon herself. “The pain makes the hunger go away”, she says in one scene, as she pushes a spiraled piece of metal through her arm. It gets to the point where she begins to pierce and shove implements of destruction through her own skin, effectively “decorating” her entire body with all manner of masochistic modifications in order to keep herself satiated, thus creating her well-known appearance that is really the trademark of this particular incarnation of RETURN OF THE LIVING DEAD.
The way in which Julie modifies her body is not only a way to satiate her zombified cravings, but it is also a means of empowerment. Simply put, she is a badass in both looks and character. This kind of inner – and outer – strength reflects that which is sought and achieved through cathartic BDSM play. Further, not only do her maso-mods make her an especially interesting-looking character, but they also come in handy as a means of self-defense and even sadistic pleasure to an extent. In one scene, Julie seduces and kills the leader of the gang that has been pursuing her and her boyfriend for the better part of the film. She uses her body – and all of the instruments of pain protruding from it – to kill the remaining gang members, thus achieving the role of both sadist and masochist at once. We learn that Julie is not a ghoul to be messed with; she gets off on pain in its many forms and she isn’t afraid to show it (or use it).
Julie’s extreme sense of masochism mirrors that of many of those who put the “M” in “BDSM”. These individuals seek to find fulfillment by consensually receiving what some may consider to be “extreme” amounts of pain – the degree to which, of course, varies by individual. Provided that it is done safely and consensually, the experience can be satisfying for all involved. In fact, it is not uncommon for those in the BDSM lifestyle to not quite feel like themselves when faced with the unfortunate circumstance of foregoing “play” for an extended period of time. Much like the undead Julie, the sense of relief she feels in pain is akin to the kind of “alive” feeling cultivated within the context of BDSM play.
This movie is a visual adrenaline rush from start to finish and it’s worth watching for that alone; however, if your palette skews towards a more, shall we say, “deviant” end of the spectrum, RETURN OF THE LIVING DEAD 3 can be a source of inspiration as well. For those looking to become more acquainted with the fine line between pain and pleasure, seeing a film like RETURN OF THE LIVING DEAD 3 can provide a definite insight into sadomasochistic culture. While it’s true that not everyone who considers themselves a practitioner of BDSM presents in a manner such as that of Julie’s maso-zombie, this extreme caricature of the proverbial “painslut” gives a close-up look into the minds and yearnings of those with masochistic tendencies.
This over-the-top portrayal of a strong female character is refreshing, albeit somewhat comical at points. In spite of the fact that the movie is dated and considerably cheesy by today’s standards, there is much to be said for the imagery and subtext present in the film. Though the hyperbolic, shock-horror representation of Julie’s character takes pain, pleasure, and everything in between to an other-worldly extreme, there is no denying that the spirit of sadomasochistic delight is alive and well (pardon the pun) in the depiction put forth by RETURN OF THE LIVING DEAD 3.
Deb Kavis is a writer, performer, and all-around bad girl from Los Angeles. She appreciates the darker things in life and loves to greet every day by scaring up a new adventure.
