Roar

Noel Marshall and Tippi Hedren certainly had a, uh, interesting relationship for a while there in the 70's and early 80's. I don't know what their marriage was like behind closed doors of course, but somehow it's a great gift to the Earth that they produced the film ROAR. Why this is can't be easily explained in a review, but I can try with this: it's about a family that lives with lions and tigers and some elephants and panthers too. Or rather it's about a guy who LOVES these lions and tigers (by the way, why tigers, shouldn't they be in India and, oh, nevermind) and panthers and so on, and invites his wife to come live with him along with her and his kids. So here comes Tippi Hedren and actual real life children Melanie Griffith and John and Jerry (Marshall's kids), and when they arrive Noel is out uh doing stuff out in the plains or jungle, and they have to contend with a house full of lions. Oh, and these were UNTRAINED LIONS by the way.

In a way I should be critical of Roar. Marshall, with the exception of one sequence that takes on the qualities of a Night of the Living Dead picture with wild cats in place of the un-dead, doesn't really set up suspense very well. The fascination with watching Roar is basic but constant: these are real people, many of them likely not exactly used to the f***ing idea of hanging out with things like lions and tigers, being knocked around, chased, bombarded by their paws and jaws and bodies, and that should in all likelihood they could/should kill these people.

There's also the behind the scenes drama that imbues real danger with what's on screen so much; right on the cover of the blu-ray it states that 70 cast/crew were harmed, and looking up who got what is just staggering (to give you an idea of the extent, director of photography Jan de Bont got his skull practically knocked off, and Melanie Griffith got facial reconstructive surgery, though the fact that we didn't notice in those movies she starred in in the 80's shows how good that surgery must have been). If there was a documentary on the making of this film it might make Herzog's Grizzly Man look like kids stuff.

Indeed the hero to me of this film is de Bont; he gets his camera into places that I just couldn't think would be possible, right in the faces of these lions, capturing action that seems impossible - certainly with the knowledge that these lions didn't have proper, you know, TRAINERS. It's just a feeling of constant WTF that goes on with this - likely why it got picked up by Drafthouse Films as Drafthouse CEO Tim League is all about finding the freshest and brightest of those WHAT IS THIS sort of flick (they also released Miami Connection some years back) - and it's amazing just on that basis alone. It's also just hysterically funny in that way that the movie lacks that awareness of the danger. Or, let me rephrase that, I think the director knew that there would be danger with these cats, but, well, why carp? The attitude is that Man is the biggest enemy - the closest thing to antagonists are under-developed hunters, you know they are as they get lines showing that I guess and they have the guns - and that, with the exception of one memorable/super-bloody lion named Togar, the lions would be just peaceful and lovable creatures if left alone.

But the ethos of the filmmakers is constantly at odds with what IS shown on screen. The actors, to their credit (at least Hedren and Griffith to an extent), get this and play this fear well through a long mid-section. There's really the feeling like there isn't really any, shall we say, 'acting' going on here; to this end, Melanie is named Melanie as are the Marshall sons, though why Hedren is a different character name is anyone's guess. I'd be surprised if there even was a solid script - how do you get these lions et al to do the things they do? It's an entirely maddening enterprise to see unfold, the kind of movie that shouldn't have been made, and may even be (borderline?) unethical, but as it is here you can't look away from the metaphorical train-wreck.

Although it is no Disney classic, Roar is a tale of adventure well worth watching. I am a huge fan of films that take me to the far reaches of the world, and, in that regard, this is a movie that delivers. The lions are incredible and the filmmakers exhibit a thorough understanding of who the real stars of the show are. The lions take center stage and shine. The performances by the cast are competent, but I am an animal lover and for me, that is the true draw of the film.

ROAR is one of those rare films where the behind-the-scenes story is more interesting than the one up on screen. It's a would-be animal movie along the lines of BORN FREE about a normal American family coping with a house full of big cats, but the whole thing is so ridiculous in both execution and planning that it's a film which has gained infamy as one of the most dangerous in history.

The problem lies with writer/director/star Noel Marshall, he of the wild hair and dubious acting talents. Marshall thought it would be a good idea to mix together a ton of different big cats, including a number of male lions, and throw them in with unprepared actors, including his wife Tippi Hedren and stepdaughter Melanie Griffiths. The resulting shooting schedule saw over 70 injuries to cast and crew, the most infamous of which was the director of photography, Jan De Bont, getting scalped.

The enjoyment factor of this one is of the 'car crash' variety. Marshall is obviously a zealot who acts and sounds a lot like Timothy Treadwell, the doomed star of the Herzog documentary GRIZZLY MAN, who got a bit too close to the grizzly bears he was obsessed with and paid with his life. Nobody died during ROAR, but they came close. There isn't really a script here, just characters reacting to the big cats, and the only decent bit is the tense mid-section in which Hedren and her screen children attempt to evade the cats which are chasing them around the house (which is far better than the whole of the tiger-in-the-house thriller BURNING BRIGHT). Otherwise, it's just a case of watch and endure it.

I recently watched ROAR for the first time. Boy oh boy this film got to me!!! Not because of the story (it's got none beyond a near nonsensical plot), but you instantly realize what you see is real, and all the "actors" (though only Tippi Hedren and Kyalo Mativo qualify as such) are in danger of being eviscerated alive by giant and not exactly predictable cats in every scene.

This film may try to tell your head it's a comedy, but it won't fool your natural instincts: I was breaking out in cold sweats after a mere ten minutes. Thankfully, nobody died during the making of the film (at least that we know of, since no remains of actors or stuntmen were found and none were reported missing) but after watching it I still felt as if I had accidentally watched some weird sort of snuff movie.

In the long and varied history of irresponsible filmmaking and dangerous vanity projects, this has to count near the top. It's some crazy shîte lemme tell you! But once you get over the fact that everyone you see is in constant mortal danger, it's also a ton of twisted fun. Truly a one of a kind movie. I highly recommend it (just don't forget to pick up your jaw from the floor afterwards ;-)

And I thought Grizzly Man was crazy. This film made me uncomfortable, bewildered, and astonished all at once. How nobody died during the making of this is beyond me. How ANYBODY in their right mind would even think of committing to this movie for even a fraction of a year is completely and totally insane. For a film with overtones of slapstick comedy, it certainly manages to deliver a feeling of intensity and uneasiness that I've never experienced while watching a movie before. At times, I felt like the novelty was fading away, only to be reminded that THIS FILM IS WHAT HAVING A DEATH WISH LOOKS LIKE. Every so often, you come across a movie that sticks with you for whatever reason. This is one that you won't forget anytime soon. I promise you.