A Boy and His Dog

Despite its ironically cutesy title ("A Boy and His Dog") and a plot premise that might've come out of the Walt Disney archives (dog and boy share telepathic communication), this movie is about as darkly comic and acidic as anything Stanley Kubrick ever did ("Clockwork Orange"). Sadly, as of the year 2014, almost 40 years later, the only copies you can find, even the laughable Blu-ray HD release, are in serious need of some restoration before audiences will give this film the respect it deserves. But considering its low profile appeal, I highly doubt that'll happen in our lifetimes, so grab it wherever you can.

In the tradition of the great 70s dystopian/postapocalyptic scifis like "Clockwork Orange" (1971), "Rollerball" (1975), "THX-1138" (1971), "Soylent Green" (1973), "The Omega Man" (1971) and I'll even throw in "The Stepford Wives" (1975), this movie has its appeal in a sort of minimalist presentation that presents a chillingly emotionless and sterile future. Where "A Boy and His Dog" excels is in its thick, satirical tongue-in-cheek presentation, particularly in the 2nd half when our hero encounters the true future of human society (or is it the present? You be the judge).

The first half is something like Mr. Ed meets Mad Max, with its equal portions of chatty humor and dusty violence. But right in the first scene we realize that, despite the cute banter between boy & dog, there aren't going to be many warm fuzzies. In the opening scene we learn that the boy (Don Johnson) is looking for female survivors so he can rape them.

If you can swallow that highly disturbing premise, which the director makes no bones in presenting at the outset, then the rest should be an unsettlingly fun joyride all the way to the film's very memorable punchline. Things get really trippy in the 2nd half, and even though there's minimal nudity, certain things happen which would make D.H. Lawrence blush (particularly involving a certain mechanical device attached to the male anatomy).

Definitely NOT a date movie, nor any sort of movie you'd watch with your parents or kids, "A Boy and His Dog" is really like a lost cousin of "A Clockwork Orange" or "Dr. Strangelove". Who ever would've thought that this sarcastic gem would come to light through the directing talents of L.Q. Jones, the ubiquitous guest star on many a 70s TV show like "Charlie's Angels", "Columbo", "Gunsmoke" and "Vega$" but whose only other directing credit is an episode of "The Incredible Hulk" (one which I'm going to re-watch immediately).

Unfortunately with the somewhat bland & grainy video quality of the existing print, we don't get the full eye-boggling power of this film the way one could imagine it. But all the same, it's an unusual vision which should proudly take its place amongst the other 70s masterpieces I mentioned. You can buy the Blu-ray for literally pennies on ebay, so you have no excuse for not checking this out.

Surely those who were looking for nothing more than what Hollywood usually delivers when they invoke the words "science fiction" were disappointed, because this movie resembles the usual horror or action film masquerading as sci-fi very little. Its source material is a novella by Harlan Ellison, a writer who's recognized by many in the sci-fi community as a master on the same playing field of "psychological sci-fi" as Ray Bradbury and Philip K. Dick. From Ellison we get a very dark tale about a strangely human dog and his boy. They live in a post-apocalyptic wasteland where Phoenix Arizona used to be, and hunt women and food with the same predatory zeal. But when Vic (or as the dog calls him, Albert) is lured into a surreal society living in a large bomb shelter, their friendship is threatened and Vic is almost forced to become a sort of sexual machine for the good of the State.

Just to run through some of the aspects of the film that I enjoyed, I really liked Tim McIntire's voice work as the dog, perfectly crisp like a cranky old man. How exactly the dog knows so much or is able to speak to Vic is never really explained, but I think there's a clue in that Lou (Jason Robards, Jr.) believes that Vic has spoken to a dog he encounters in the shelter. That, along with the "Committee's" seeming obsession with recounting facts and figures almanac-style, makes me believe that the dog actually came from the shelter. Perhaps he was sent there to "observe" Vic, as Lou tells him they have been doing for some time, and he rebelled against their control. Like all good sci-fi the idea is vaguely proposed but never explained.

Don Johnson did pretty good work here, I mean it doesn't strike you as all that impressive at first but when you think about the fact that he had to do so many scenes with just this dog as his co-star it's a pretty tough act to pull off as well as he did. Susanne Benton was decent in her role as well. I loved when she tried to sweet-talk the dog, basically the same way that she treated Vic. Vic seems confused about her intentions all the way up to the end, which is excellent -- if he had figured her out completely then the ending would just feel mean-spirited instead of humorous. As it is, it's as if Vic believes he's making a sacrifice but the dog knows better and turns it into a joke. By the way my girlfriend thought the last line was too tacky but I thought it was perfect, it gave narrative closure to the film as well as filling in those who might not have understood the scene with the campfire.

Honestly the only performance I wasn't crazy about was Jason Robards'. There's these great scenes he gets to play with Alvy Moore ("Green Acres") and Helene Winston (great laugh she's got... she didn't make a lot of movies but strangely enough just this week I saw her in Curtis Harrington's "The Killing Kind"). He just has no energy, I guess that's the way he wanted to do it but it's annoying how he kind of mumbles through the dialog and I just didn't feel that the dialog was supposed to be quite that casual. Basically I just did not like the way he decided to play the character, I didn't think it was scary at all. His android assistant, like a twisted American Gothic, is pretty strange though. Plus I never understood why everyone down there was wearing clown makeup. Was it the idea of the forced smile? Anyway, I salute the film because I think it was a brave decision to make it as it is and not to try to turn it into a more conventional thing with romance or too much action. I think I can see some influence from this movie on George Miller's "Road Warrior" (though I was told that he claims he hadn't seen it), and definitely on "Slip Stream" with Mark Hamill from the 80s. But this isn't really the kind of movie that was made to fall into place inside the pantheon of "sci-fi" anyway. It's a closer relative to "Electra-Glide in Blue" and other films of the early 70s that explored the bitter end of "hippie" idealism, the same trend that Hampton Fancher was trying to catch onto when he wrote his first drafts of the film that eventually became "Blade Runner." Frankly I can't remember seeing another sci-fi film that is so close to the feel and ethos of the most transgressive and anti-establishment sci-fi of the 1960s.

First off... To the guy who said that this movie doesn't say anything.. Please try to use more than 1 percent of your brain cells next time you analyze a movie. To those who think that the writer of this story, Harlan Ellison, intended on being anti woman in his creation of the final scene, you need to re-examine the story's real meaning. The movie (and especially the original story) is making a strong statement about the meaning of love. Love is honest. Love is survival. Vic probably makes the most mature decision in his entire life by choosing the dog over the woman. He needed to choose the dog over all else in order to have a future in that harshest of all worlds. He chooses life over temporary sexual pleasure. Vic was never in love with Quilla June. In the world of "A Boy and His Dog" a Vic and Quilla June relationship was destined to fail for many obvious reasons.

Nevertheless, the original story does a much better job of exploring Vic's ambivalence in making the final decision. It is true that Ellison's original novella is a masterpiece. Thanks for listening.

Like many artifacts of the 60s & 70s, y'hadda be there...at least in order to feel a protective fondness for what is without question a very flawed movie. The miracle of this film was that it was made AT ALL. (Due in no small part to the tenor of the times it sprang from. The shackles on pop culture and genre fiction were loosening, allowing for more serious themes and treatment; of course, two years later STAR WARS would tighten the shackles again.) I'm a little amazed at the many posters bitching about cheap sets, poor fx, etc. Does everyone watch a movie EXPECTING a 50-million-dollar budget and CGI up the wazoo? If so, we're in deeper trouble than I thought. I look at A BOY AND HIS DOG with great affection as a sincere attempt to do something different, provocative and heartfelt, and although it's informed by a naive leftist worldview I don't share, there's a great deal of audacious creativity at work here that transcends many of the budgetary limitations. You'd think oddities like this would be treasured as artifacts of a more open and experimental period in movie history, rather than derided for falling short of INDEPENDENCE DAY's store-bought bombast and opticals. Go figure...

In the year 2024 Earth has become a barren desert due to WW4. Vic is a solo, a loner who walks around in search of food and sex. He is accompanied by his telepathic dog, Blood, who uses his senses to sniff out women and food. When Blood sniffs out Susanne it leads to a terrifying journey to the underground where Vic finds himself trapped for sinister means.

This is a very basic that sticks to post-apocalypse movie rules - desert conditions, everyone searching for basic needs, loner warrior etc. The story seems to be leading nowhere but then picks up on the story of Susanne and begins treading towards the underground scenes. The main driver of the first half of the film is the relationship between Vic and Blood. Once the film moves underground, Blood is left behind and the film stutters a bit because of him being out of it. However once the story picks up again, Johnson can almost carry it. And the ending - it's not a shock or a twist but it's a quite whimsical end in a story that is about friendship.

Johnson is not too bad here, he's slagged off on these pages, but considering he's acting to a dog he does really well. It's almost like acting in a blue screen I suppose, having to respond to lines that aren't being spoken. He shows the extent of his talents when he goes underground but he's good on the surface. Composer Tim McIntire is good as Blood, but maybe makes him a little too unlikeable early on. The only other performance of interest is Jason Robards as the head of the underground committee.

Overall this is a little oddity, but it's not a brilliant film. The underground scenes are good in that they display greater imagination than those on the surface. It lacks pace for the most and really doesn't have anything to say but it's an interesting film.

More than anything else, I think this is one of those films that movie-snobs talk about in pubs because they know few people will have seen it! Forget them - it's worth seeing once.