White Dog

Based on the novel by Romain Gary, White Dog is the story of a dog trainer who helps a young actress retrain a stray dog that was trained to kill black people in an examination of racism. Directed by Samuel Fuller and screenplay by Fuller and Curtis Hanson, the film is an exploration of a black man dealing with a dog that kills black people as he tries to retrain it and tame him with the help of a young white actress as they deal with what had happened to this dog. Starring Paul Winfield, Kristy McNichol, Jameson Parker, Parley Baer, and Burl Ives. White Dog is a chilling and provocative film from Samuel Fuller.

A young actress finds a stray dog that she hit one night as she would take care of it unaware that it’s a white German Shepard who has been trained to kill black people where a series of incidents forces her to seek help where a black dog trainer tries to tame the dog. It’s a film with a simple premise as it plays into this young woman who finds a dog unaware of where it came from as she would see what this dog does first-hand during a film set where she was working where the dog attacked a black actress. The film’s screenplay by Samuel Fuller and Curtis Hanson is straightforward in its narrative yet it is more about this dog that the actress Julie Sawyer (Kristy McNichol) found where she took to a vet and pondered about taking it to a dog pound yet chooses to take care of it much to the dismay of her boyfriend Roland (Jameson Parker) who suspects something isn’t right about the dog.

Notably when the dog comes home one day with blood all over himself and following an incident on-set during a film shoot. She turns to the animal trainer Carruthers (Burl Ives) who sees what the dog does as does the black animal trainer Keys (Paul Winfield) who decides to take the dog in and hope to tame him. Yet, it would prove to be difficult as it play into the idea of race and what this dog had been trained to do where Julie learns first-hand about what this dog did as she isn’t sure if she made the right decision.

Fuller’s direction is largely straightforward with the exception of the scenes involving the dog attacking African-American victims. Shot on location in Los Angeles, Fuller presents a world where racism is still around but not in the most expected places as Sawyer lives in the Hollywood Hills trying to get work as an actress while Roland is a screenwriter. While Fuller does use some wide shots to establish some of the locations including the scope of the animal shelter where Carruthers and Keys train animals for film projects where they treat animals humanely and with care. Much of the direction has Fuller use close-ups and medium shots with some striking compositions that play into the interaction between human and dog. With the aid of Karl Lewis Miller of Animal Action, the dog is a major character in the film as he is portrayed by five different white German Shepard as Fuller’s close-ups of the dog in the way he looks at a black person showcases this sense of dread and what is to come.

Fuller also knows when to subvert some of the suspense during the film’s second act where the dog escapes as there’s a shot of the dog sniffing for food while there’s a young black child in the background as it adds to the air of discomfort. Keys is someone who would try and tame this dog as he has this hope that trying to show this dog kindness and compassion yet remains unsure of how a dog would act towards other people since dogs can only see black and white. Even as he is patient towards the dog to gain its trust but there is also this air of uncertainty into how a dog that had been trained to kill black people would react to society and a world that is complicated. Overall, Fuller crafts an eerie and visceral film about a white German Shepard who kills black people raising questions about the idea of racism.

Cinematographer Bruce Surtees does excellent work with the film’s cinematography as it is largely straightforward with some low-key lighting for some of the interior scenes at night as well as the usage of spotlight during a break-out scene at night. Editor Bernard Gibble does amazing work with the editing as its usage of slow-motion to play into the suspense as well as the stylish fast-cutting to showcase the dog’s attacks help play into the film’s suspense. Production designer Brian Eatwell and set decorator Barbara Krieger do fantastic work with the look of Sawyer’s home as well as the animal shelter that Carruthers and Keys run. Sound mixers Don Cahn, Jim Cook, Robert Gravenor, and Robert L. Harman do brilliant work with the film’s sound in capturing the atmosphere of the locations and how animals sound from afar. The film’s music by Ennio Morricone is incredible for its usage of somber piano and lush strings to play into the drama as well as soaring string arrangements for some of the film’s suspenseful moments.

The casting by Jane Feinberg and Mike Fenton is superb as it feature some notable small roles and appearances from Samuel Fuller as Sawyer’s agent, Paul Bartel as a cinematographer during a film shoot, Dick Miller as an animal trainer, Vernon Weddle as a veterinarian, Christa Lang-Fuller as a nurse, Marshall Thompson as the director of the film shoot, Lynne Moody as the actress the dog attacks, Bob Minor as a black animal trainer, and Parley Baer as a mysterious man who appears late in the film. Jameson Parker is fantastic as Sawyer’s screenwriter boyfriend Roland who is wary of the dog as he believes something isn’t right about that dog. Burl Ives is incredible as Carruthers as a semi-retired animal trainer/animal shelter owner who worked in movies as he has concerns about the dog while also watches closely at what Keys does believing it is working.

Kristy McNichol is amazing as Julie Sawyer as an actress who finds the dog and would take care of it but becomes troubled by his actions during a film shoot as she later realizes what kind of dog it is as she is unsure if she made the right decision. Finally, there’s Paul Winfield in a phenomenal performance as Keys as a black animal trainer who sees this dog as a challenge as he is eager to help this dog while is aware that he’s doing something impossible while he would find ways to get the dog to trust him yet has concerns about how this dog would react to society.

White Dog is a tremendous film from Samuel Fuller. Featuring a great cast, striking visuals, Ennio Morricone’s haunting score, and its study of racism and how animals are brainwashed to do horrific things. It is an unsettling film that explores the actions of a white German Shepard and a man’s attempt to try and cure the dog while dealing with the harsh realities of racism at its most rotten. In the end, White Dog is a sensational film from Samuel Fuller.

Samuel Fuller Films: I Shot Jesse James - The Baron of Arizona - The Steel Helmet - Fixed Bayonets! - Park Row - Pickup on South Street - (Hell and High Water) – House of Bamboo - (China Gate) - Run of the Arrow - Forty Guns - Verboten! - The Crimson Kimono - Underworld U.S.A. - Merrill's Marauders - Shock Corridor - The Naked Kiss - (Shark!) - (Dead Pigeon on Beethoven Street) – The Big Red One - (Thieves After Dark) - (Street of No Return) - (The Madonna and the Dragon)

© thevoid99 2020

Eating Raoul

Directed and co-starring Paul Bartel and written by Bartel and Richard Blackburn, Eating Raoul is the story of a prudish couple whose lifestyle is threatened by swingers living in their apartment building until an accident gives them an idea to get rid of them and realize their dream to open a restaurant. The film is a dark comedy that explore different lifestyles and what a couple would do to maintain their safe and calm lifestyle. Also starring Mary Woronov, Robert Beltran, Susan Saiger, and Buck Henry. Eating Raoul is a witty and whimsical film from Paul Bartel.

The film is the simple story of this couple who are considered snobbish and prudish due to their lack of interest towards sex as they try to raise money to buy a house for a restaurant they want to create yet they are threatened by the antics of swingers who live in their apartment building. It’s a film that sort of makes fun of the world of swinging and some of the silliness of the lifestyle while there’s this couple who are totally square and find themselves with an idea of killing swingers and stealing money to fund their restaurant as it happened by accident. The film’s screenplay by Paul Bartel and Richard Blackburn follows the lives of Paul and Mary Bland (Paul Bartel and Mary Woronov respectively) as the former just got fired from a liquor store for refusing to sell awful cheap wine while the latter is a nurse often sexually harassed by horny patients.

Their problems are worsen by horny swingers in their building as one of them who is a patient of Mary breaks into their apartment and tries to have his way with Mary until Paul hits him with a frying pan and the guy is dead. Upon realizing how much money swingers have, they turn to Doris the Dominatrix (Susan Saiger) who gives them advice on what to do as she isn’t entirely fond of swingers either while the film’s second act begins with the arrival of a locksmith named Raoul (Robert Beltran) who is also a burglar as he gets wind of what the Bland are doing as he helps them in favor of a cut. Yet, their alliance with Raoul would cause trouble where Paul would learn what Raoul does with the bodies but also something much more.

Bartel’s direction does have elements of style in terms of its approach to absurdist humor while much of the compositions he creates are straightforward. Shot on location in Los Angeles, Bartel play into the world of sex shops and the swinging lifestyle in a comical manner while presenting the Blands as a couple who sleep in separate beds yet they do love each other. There are some wide shots in a few scenes yet much of Bartel’s direction involves close-ups and medium shots that include a few long shots to play out the drama and some of the humor. Notably in scenes that play into the Blands trying to kill some swingers with Mary playing some form of fantasy as it is played for laughs with some dark humor. Once Raoul gets involved, the film’s mayhem does increase but it also lead to some chilling and dark moments about what Raoul does with the bodies but also some of the money he makes though it lead to some funny moments of Paul trying to figure out what he’s doing with help from Doris. The humor as well as some of the approach to suspense and comedy play into the third act as it play into Raoul’s activities as well as the Blands taking extra steps to reach their dreams of opening a restaurant. Overall, Bartel crafts a weird yet delightfully fun film about a prudish couple who kill swingers for money to fund their own dreams of a healthy restaurant.

Cinematographer Gary Thieltges does excellent work with the film’s cinematography as it is largely straightforward in terms of its visuals with some low-key yet colorful lighting for some of the swinger parties. Editor Alan Toomayan does nice work with the editing as it is largely straightforward with some rhythmic cuts to play into the humor and suspense. Production designer Robert Schulenberg does fantastic work with the look of the Blands’ apartment with their collectables and rack of fine wine as well as the more outrageous look of the swingers’ party. Sound editors Val Kulowsky and Christopher T. Welch do terrific work with the sound as it is largely straightforward along with the way music is heard on a location or in another room. The film’s music by Arlon Ober is wonderful for its playful and kitsch-like score that feature some humorous moments in the film while its soundtrack features an array of music ranging from easy listening to a Spanish cover of Mitch Ryder & the Detroit Wheels’ Devil with a Blue Dress On by Los Lobos.

The film’s marvelous casting feature some notable small roles from co-writer Richard Blackburn as the real estate agent James, John Paragon as a sex shop owner who gives Paul a hard time, John Shearin as a patient of Mary who would later try to harass her at her home, Edie McClurg as a woman in fur at a swingers party, Richard Paul as the liquor store owner who wants to sell shitty cheap wine, Ed Begley Jr. as a perverse hippie, and Buck Henry in a terrific small role as a horny bank manager in Mr. Leech who wants to have his way with Mary. Susan Saiger is excellent in a dual role as Doris the Dominatrix and as a receptionist nurse at the hospital where she is full of personality as the former who isn’t fond of swingers while helps Paul find out more about Raoul to see what he does while Saiger’s role in the latter as a nurse is more low-key.

Robert Beltran is excellent as Raoul Mendoza as a locksmith who is also a house burglar that helps the Blands make more money while also making some money on the side as he also has a keen interest in Mary for sexual pleasure. Finally, there’s Paul Bartel and Mary Woronov in amazing performances in their respective roles as Paul and Mary Bland as a prudish and snobbish couple with love for wine and nutritious food who are dealing with horny swingers in their apartment building. Bartel displays that curiosity and frustration as a man that just cares about giving people good wine but later is filled with jealousy for Raoul later in the film as he provides a low-key approach to comedy. Woronov provides some charm into her role as well as someone who is curious about sex and pot although she is conflicted as it relates to her encounters with Raoul.

Eating Raoul is a marvelous film from Paul Bartel that features enjoyable performances from Bartel, Mary Woronov, Robert Beltran, and Susan Saiger. Along with its offbeat look at the world of swingers, the film is a strange yet exuberant comedy that isn’t afraid to get dark while also finding a way to keep on bringing in the laughs. In the end, Eating Raoul is a remarkable film from Paul Bartel.

© thevoid99 2019

The Living End

Originally Written and Posted at Epinions.com on 3/14/06 w/ Additional Edits.

The 1992 Sundance Film Festival is often considered to be a great class where a bunch of new film directors emerged. Two directors that came out to become the most successful from that class were Quentin Tarantino and Robert Rodriguez, both of whom released their respective debut features, Reservoir Dogs and El Mariachi. The winner of the Grand Prize that year was Alexandre Rockwell for his feature film In the Soup that also starred Reservoir Dogs co-star Steve Buscemi. Two other films got attention that were from female directors, first is Alison Anders' drama Gas, Food, & Lodging, and Poison Ivy by Katt Shea while Jim Jarmusch's longtime cinematographer Tom di Cillo also broke through with his debut feature Johnny Suede that starred Brad Pitt and Catherine Keener. Another film that got attention at Sundance was a nihilistic, gay road movie that was described as a gay version of Thelma & Louise called The Living End from director Gregg Araki.

Prior to The Living End, the Asian-American director had created two features at the time, 1987's Three Bewildered People in the Night and 1989's The Long Weekend (O’Despair) before channeling his rage and frustration over the way gays are treated, especially in the world of AIDS, Araki wrote, directed, shot, and edited The Living End. The film centers around a gay film critic who just discovered he's HIV-positive as he meets another HIV-positive gay drifter as the two go on the road after the drifter kills a cop. Sharing a vision of nihilism and the idea that they're dead anyways, they drift into nowhere on the road while embarking on a love/hate relationship. Starring Mike Dytri, Craig Gilmore, Darcy Marta, Mary Woronov, Johanna Went, Paul Bartel, and Scot Goetz. The Living End is a powerful, in-your-face road movie from the always talented and provocative Gregg Araki.

For a young film critic named Jon (Craig Gilmore), his often boring living in Los Angeles has just gotten worse. He just received test results that he's HIV-positive. His mood only increases his hatred for the world and the only person he can count on is his friend Darcy (Darcy Marta). While driving around L.A., Jon would often see a drifter walking by who is looking for places to stay or things to steal. The drifter's name is Luke (Mike Dytri) whose anarchistic view on life leads him to hate everything as he gets picked by a couple of lesbians named Fern (Johanna Went) and Daisy (Mary Woronov) where Daisy flirts with him only to hold him at gunpoint. Fortunately, Fern goes to the bathroom where she screams as Daisy leaves the car leaving Luke to steal it, briefly. Still in a state of shock and despair, Jon goes on a drive where he sees Luke again who has been running after killing a few guys with a gun.

Jon takes him in as the two immediately befriend each other as Luke is amazed by the things he has in his apartment as an attraction happens. The two have a share for their distaste of the world and how the previous generation get to do all crazy things while the generation they're living is paying for the sins of the old generation in the sexual revolution. Jon enjoys Luke's company until he sees his violent behavior after a gay-basher tells them that AIDS stands for something else as Luke beats him up. After a brief separation, Luke returns to his apartment telling Jon that he had killed someone who could be a cop. Jon realizing that he's an accessory to murder, the two decide to leave L.A. and go on the road.

Deciding that since they're both HIV-positive and don't have a lot of time to stay alive, the two fugitives go on the road with no clear destination as they just decided to forgo conventions and rules and go on an anarchistic road trip. For Darcy, Jon's departure bothers her since she's the only real friend he has while her boyfriend Peter (Scot Goetz) insists that he'll be back saying that he was really depressed for about two weeks when Echo & the Bunnymen broke up. After a stop in San Francisco, Luke tries to get a place to live from a guy he knew named Gus (Peter Grame) who has no idea who Luke is. Jon meanwhile, calls Darcy through a series of infrequent collect calls which leaves Darcy emotionally upset since she is fully aware of Jon’s declining health.

With the two moving on towards the American West, Luke's nihilistic beliefs only makes Jon feel disillusioned as he finally gets sick. Luke insists that they're going to continue on this road trip but his own behavior gets the best of him as Jon has simply had enough and declares that he wants to go home. For Luke, he must find a way to win Jon’s love, even if he has to go everything he’s fighting against.

While it's been nearly 20 years since the film's release, especially since the recent acclaim of Ang Lee's gay cowboy romantic drama, Brokeback Mountain. Gays are now accepted as fully develop characters but in The Living End, the main protagonists aren't as likeable as Jack and Ennis but they're not people to hate either. Sure, Jon is a bit whiny, moody, and often neurotic while Luke is more outgoing and violent yet they're both fully developed characters. The real difference is timing yet both couples have issues to deal with in being gay. For Luke and Jon, they're both HIV-positive and feel like they're going to die anyway as they go for one last ride yet their idealism about things clash against each other. Plus, the film has more political context in the way they talk about George Bush and Republicans' attitude towards gays at the time.

Still, Araki chose not to go into the politics yet use that time to reflect the often disillusioned behaviors of the characters. Yes, the early 1990s are filled with a sense of cynicism but the reasons behind them are very understandable. Due to the 1980s era when AIDS was starting to come out and gays being the targets, it seems that they are the ones responsible for what happened. That sparks the behavior of the protagonists as it would later lead to some tragic circumstances. Still, it's Araki's script and his observant yet nihilistic direction. While some have called this film a low-budget, gay version of Thelma & Louise, it really owes more to the style of Jean-Luc Godard plus some of the narrative style of Terrence Malick. Still, Araki's approach to storytelling is unique, even if he had to use a small budget for the film which gives the film a sense of reality.

That low-budget look though does give the film a grainy presentation with the camera yet Araki's camera work does shine in his locations and ideas about sex and dialogue. The dialogue is often filled with pop culture references and politics while the sex isn't as explicit as one might would think yet watching what they do would get the audience the idea of what's going on. Araki also brings in a nice style of editing to the film that is often reminiscent of his love for Jean-Luc Godard, especially in the jump-cut styles where it would briefly cut to black and then back to a road shot. Though the film's look in its camera may not be perfect, its story and stylish presentation makes up for those shortcomings.

Helping Araki with the film's look is props master Johanna Went who brings an arty look to the film’s edgy, L.A. art scene, especially for the character of Darcy whose boyfriend is a performance artist. Then there is the soundtrack that Araki has assembled that would be the catalyst for his entire career. For this film, Araki employed the likes of such industrial bands like Coil, Psychic TV, and KMFDM plus groups like Chem Lab, Braindead Sound Machine, Babyland, 16 Volt, Drance, Chris & Cosey, Fred, Cambodia, and Biohazard PCB. The music for the film helps conveys the film's angst and attitude that is used very well.

The film's cast doesn't bring much to offer yet the cameos from obscure German actor Peter Grame, Eating Raoul director Paul Bartel, performance artist Johanna Went, and Warhol protégée Mary Woronov are fun to watch since they all represent many of the quirky cameos in Araki's early films. Scot Goetz is good in a brief role as Darcy's performance artist boyfriend who is just sexually frustrated in Darcy's worrisome behavior over Jon. Darcy Marta gives the most realistic performance of the film as Jon's worrisome friend who seems to be the only character in the film that brings any sympathy throughout the entire film. Craig Gilmore is pretty good as Jon though at times, his despaired behavior and whining does make his character very unlikeable but at least Gilmore sells the performance in the third act when he's playing sick. Mike Dytri is also good as Luke with his charming, anarchistic performance with his good looks and cool demeanor though he doesn't bring some more depth into his anger despite giving a few reasons.

While The Living End isn't as accessible as Splendor or as revered as Mysterious Skin, the film does serve as a nice introduction to the work of Gregg Araki. Those interested in the New Queer Cinema movement will indeed find this film essential. While the film is available on DVD, someday the film will get a great DVD release with special features and insight from Araki. While the film's low-budget look and feel and the often-amateurish performances won't be for everyone, the film does hold itself thanks to its attitude and idea of gay life. Still, anyone looking for a road movie with a lot of attitude and cool music on the gay side, The Living End is likely to fulfill those expectations.

Gregg Araki Films: (Three Bewildered People in the Night) - (The Long Weekend (0' Despair)) - Totally Fucked Up - The Doom Generation - Nowhere - (Splendor) - (This Is How the World Ends) - Mysterious Skin - Smiley Face - Kaboom - (White Bird in a Blizzard)

(C) thevoid99 2011