Imagine you’re a person who isn’t ready to move in with your significant other. But a character comes into your life, one who brings companionship, warmth, even a shoulder to lean on.
And then saves your life in a home invasion.
This is what Kristy McNichol (stepping out of her typical teen heartthrob stance) encounters in Samuel Fuller‘s 1982 film White Dog. She rescues a German Shepherd after accidentally hitting him with her car on a Mountain Road, falls in love, and takes him in. There’s only one problem.
This dog is racist and has been trained to attack and kill black people without restraint. He is what is referred to as a “white dog”.
McNichol's character, Julie, knows this really isn’t the dog's fault, and sees through the darkness to a truly beautiful animal. She finds someone in Paul Winfield, a terrific actor who is overlooked to a pathetic degree. Here he plays Keys, a man who has a method for changing a “white dog”, and for the better.
Removing the racism.
His performance in a powerful film is amazing. Yet, the studio bailed on the flick upon release among fears and cries of racism. (This is stupid, the film is clearly anti-bigotry). It never received a proper uncut intended release until Criterion got on the job in 2008.
This film does work as a horror film on a couple levels. When the dog's racist switch is flipped, he goes from adorable to downright terrifying. And it is a scary fact that in this world people would put massive effort into training a gorgeous animal to kill people merely for the color of their skin. Racism causes a lot of stupidity though, as it is born of stupidity, ignorance at the very least.
This long overlooked film deserves further rediscovery and discussion after viewing. Curtis Hanson and Samuel Fuller have scripted an amazing movie enhanced with a terrific Ennio Morricone score.
It may sting a little bit going down, but it’s a necessary drink.
You can teach.
Can you unteach?
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