Roar

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.

Jesus Christ! I've read a lot about this since it was resurrected a while back, but nothing quite prepares you for just how insane it is. It is as if Timothy Treadwell had decided to make a sitcom starring his beloved grizzly bears. The Treadwell here is Noel Marshall, Hollywood producer and husband of Tippi Hedron. The two were obsessed with lions, so they wrote this picture, where a family lives with like 50 different big cats, mostly lions but also several tigers, cheetahs, leopards, etc. There are also some elephants. The script is nearly nonexistent - I mean, how exactly are you going to get 50 giant cats to do what you want? So the idea is just to write a bare sketch of a plot and then throw your cast (which mostly consists of Marshall, Hedron and their children) to the lions like it's ancient Rome or something. Besides Noel Marshall, who probably should have been in a mental institution, the rest of the family members and other cast look terrified much of the time. At one point, one of the Marshall sons has to speak the line "I don't have to be in Chicago until next week!" A lion jumps up on him halfway through the line and you can hear his voice quiver. Of course, Melanie Griffith is one of the kids. Amazingly, no human died during the many years of production (some lions did, though, when the ranch was flooded). The film itself is far from great, but it's a must-see.

I first saw this in the early 90s on a vhs. Revisited it recently with my 7 year old nephew. While i found it a bit tedious now, my nephew enjoyed it. The film doesn't have any plot n it has lots of hide n seek kinda moments. It is funny at times, the scene where the lioness try the skateboard, the facial expression of the big cat when a leopard grabs away the meal, the cat pushing the female in the water, etc. The film is very picturesque. I found Tippi Hedren at 51 in this film very attractive n in good shape.

I first saw this movie as a child and it has always stayed in my memory as an enjoyable experience. I just watched it recently as an adult and found it every bit as enjoyable as before. It's directed by Noel Marshall who spent a decade making this film. What really works the best is the fantastic music score. Unlike some films today, "Roar" doesn't drag on for hours and has no shallow character's or bad CGI. This is the way films should be made. Real lions and tigers involved in this amusing story of a family arriving at the wrong time to be greeted by the local wildlife. I don't understand the other reviewer and their negative comments. Watch this for yourself. It's not spineless garbage but a passionate and thoughtful film. Thank you for reading.

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.