Tuesday, August 19, 2014
Back in the 80's, everyone who loved movies knew Samuel Fuller, and everyone who knew Sam Fuller knew about White Dog. In theory. The film was so notorious, some studio, Paramount, maybe, ducked the controversy, swallowed the loss, and refused to release it in the US. I saw it in France. Loosely based on a true story, it's a movie about both a white dog and a White Dog -- a german shepherd trained from puppyhood, in a tradition dating back to the 1800s, to be a loving family pet for white people and attack and kill black people.
The film was shot for $7 mil, and often looks like it. So I won't defend some of the bad dialog, wardrobe, sound, and editing choices inherent to a budget production.
In spite of all that, it's a powerful film, and succeeds because of Fuller, the score by Ennio Morricone, and the four lead actors (Burl Ives, most definitely included, but Paul Winfield runs the show, breaks the heart). And yes, the movie is a metaphor, but Fuller dealt in slap-in-the-face metaphors -- think Hawthorne and Melville. Nothing coy; no digging required.
The film doesn't stream, but you can get the DVD at various sources. It's painful to watch, and maybe you won't. In which case, I've got a clip of the ending. To set this up: A young actress rescues a dog and they bond. But it's a white White Dog, and once she finds out, she takes it to an animal training center. Both men who run the center recognize the problem, immediately; Ives says kill him, Winfield, well, it's his Moby Dick.
The movie rarely strays from one note, one powerful note, pretty much the whole time. When you learn to hate at an early age, can such damage be reversed. Can you reprogram a mind?
Can hatred be removed, erased; or, once learned, is it just in transit? Always searching for a target.