White Wolves (1993 - 2000) * * ¾

The three WHITE WOLVES movies are sequels to A CRY IN THE WILD, a 1990 film based on the 1987 book "Hatchet", written by Gary Paulsen. It features a bear and other animals, whereas wolves dominate the three sequels: WHITE WOLVES: A CRY IN THE WILD II, WHITE WOLVES II : LEGEND OF THE WILD, and WHITE WOLVES III: CRY OF THE WHITE WOLF.

In A CRY IN THE WILD, 13 year old Brian Robeson (Jared Rushton) is the sole survivor after a plane crashes in the woods of the Yukon, and with hatchet in hand, he must find his way out. He eventually finds some company in a pair of orphaned grizzly bear cubs. The obstacles that Brian faces are demonstrated in a realistic fashion and keep the viewer wondering what is going to happen next.

Brian Robeson: (sings to himself) Nobody loves me. Everybody hates me. I'm gonna eat some worms.

The movie follows closely the plot of Gary Paulsen's book "Hatchet." It's quite realistic with the main characer Brian involved in a life and death struggle to survive in the wilds of Canada. The way Brian finds the will, creativity, and courage to stay the course keeps you glued to your seat. All the natural beauty of the forest is revealed in its glory and unforeseen danger. If you enjoy realistic, survival-type films, then definitely see this one. It's first-rate.

The cast also includes: Ned Beatty (Pilot Jake Holcomb), Pamela Sue Martin (June Robeson), Stephen Meadows (Brad Robeson), Terence H. Winkless (Boyfriend Steve), Louise Baker (Woman at Picnic), Deke Anderson (Store Clerk), John Jakes (Rescue Plane Pilot), Lois Mallory (Grandma), and Ollie Mann (Grandpa). Arthur Kempel composed the original music. Catherine Cyran and Gary Paulsen wrote the screenplay from Paulsen's novel. Mark Griffiths directed.

WHITE WOLVES: A CRY IN THE WILD II (1993)

The movie is set in the wilderness areas of the Cascade Mountains in Oregon. As the film opens we see a school bus driving to the base camp and inside are two groups of teenagers and two teachers about to embark on a two week trek vacation. The teens have attitude problems and are assigned to stay at a camp that is trying to increase the wolf population. Cara (Amy Dolenz) is a campus queen who has a somewhat condescending attitude about the others. Adam (David Moscow) has a little bit of the class clown in him, but is also lacking in self-confidence. Pandra (Amy O'Neill) is Cara's naive younger sister, who was a last minute substitution on the trip, made to go by her parents so she could spend some "quality time" with Cara. Benny (Marc Riffon) is a poor kid from the wrong side of the tracks, but asked to go on the trip by Jake (Matt McCoy), who has been mentoring him as his Big Brother. Naturally, poor Benny isn't treated well by the rest of the teens, and he has an attitude problem to boot.


Both groups split up when they reach base camp, with the idea that they will meet again in several days. One group is called The White Wolves, and their trip involves rafting down a mountain river, and then climbing up a very steep peak where there is an incredible view of the entire region. Their teacher Jake or Mr. B takes his group of five teenagers into the wilderness. WHITE WOLVES starts innocently enough, with a crew of rowdy teens embarking on a camping trip with woodsman and role model Mr. B as their guide. But after some mountaintop horseplay goes awry, Mr. B falls approximately twenty thousand feet to the ground below, and somehow survives.

The teens have to rescue Mr. B, and each has his or her own style, which leads to frequent clashes. When the teenagers find the teacher the next day, they have to put aside their differences and work together to save the life of their dying teacher. And the teenager who decides to go and fetch help is Benny. Scott (Zach Morris) is an authoritarian thug who almost murders Adam in a rage. Cara is distraught when Mr. B's accident seriously cuts into her flirting schedule. Benny is a malcontent delinquent who can hardly function without his father figure. And Pandra is the weirdest one of all, as demonstrated by a romantic scene in which she and Adam confess their attraction to each other. It's one of the strangest moments of teen love ever captured on film.

Just when you think this movie can't get any more weirdly, bizarrely entertaining, with ghostly white wolves appearing and disappearing, the kids get attacked by a bear. You should watch this scene in slow motion to see its fakeness and sheer absurdity. However, when a wolf they found recently is killed by a bear, the group must protect its pups. The film focuses on the group, The White Wolves, led by their enthusiastic teacher. Years before Mr. B was once lost in the wilderness, and tells a story about how he was assisted and saved by a white wolf.

Acting from the amateur cast ranges from good to mediocre throughout--sometimes in the same scene. We are treated to some nice scenery, with a white wolf and a savage bear. Curiously, you never see any of the characters in any of these animal shots, so it's probably recycled footage from the first film.

It's a formula movie produced by Julie Corman, Roger Corman's wife, and overall seems to be generic. While there are a lot of holes in the story, it has a 1980's feel with the clothing, hair styles and some lame special effects. It does have some wonderful scenery, good storyline and a strong message about taking on responsibility and challenges. There is a brief reference to a plane crash that leads one to believe this is a sequel to A CRY IN THE WILD. WHITE WOLVES certainly isn't the worst movie following this formula. But you've seen it before. It's so bad it's good.

WHITE WOLVES II: LEGEND OF THE WILD (1995)

As a plea-bargain to clear their school records, a group of misfit teens go into the majestic but unforgiving wilderness to help young wolf researcher Ben Harris (Corin Nemec) save the vanishing wolves. At the beginning of the film several teenagers are forced together through the Lupine Foundation which sends them out into the wilderness for a nature hike. They were all assigned to the Lupine Foundation in lieu of juvenile hall where they all would have been for various petty crimes. Beri Jones (Ele Keats) is the only one who won't confess her crime. Crystal Myers (Elizabeth Berkley) was arrested for petty theft and "Miami" Steve was arrested for tagging. Steve (Ernie Reyes Jr) has a difficult time in the woods because he still has the desire to tag. Ben Harris, who has had a lot of experience in the wilderness, is their leader and also involved in the Foundation's funding to save the wolves. He claims that sometime in the past, when he was out in the wilderness alone, a white wolf actually led him to safety, and saved his life.

After taking canoes across a lake, the foursome exit and start their hike up into the forest. Shortly after their trek begins, they see a mother wolf and her two baby cubs. The adorable cubs romp and wrestle in a meadow while the mother wolf looks on. The next day, our group meet Mason (Jeremy London) and Jeff (Justin Whalin), brothers who are up there parasailing. As the winds have changed, Mason and Jeff join the group on their hike.

Along the way, our group of now six, come across the mother wolf who has been killed by a mountain lion. It now becomes a quest to locate the baby cubs and make sure they are taken care of until another wolf family can take them. Miami Steve eventually finds the cubs and the group takes turns caring for them. They name the cubs Burt and Ernie. It is Crystal and Beri's turn to watch Burt and Ernie, who are now on leashes tied to a tree. As the cubs play, Mason and Jeff invite the girls to watch Mason parasail. Knowing the cubs should be okay for awhile, they agree to go. In the meantime, Burt and Ernie have exhausted themselves playing so fall asleep. When they awaken and are alone, they start whining as they try to pull on the leashes to escape. They eventually chew the leashes off and run off into the woods. Later, when Ben and Steve return, they find that Burt and Ernie are missing and realize that Crystal and Beri have left them alone. After lashing out at the girls for leaving the cubs alone, Steve takes off looking for them. He finds them nearby eating out of a ditch. As Steve calls them, they come bouncing over to him.

Throughout their trip, Ben has emphasized the necessity of burying food scraps at least 100 yards from the campsite. Miami Steve, annoyed about something that was said around the campfire, buries the scraps approximately 20 yards away. As a result, a bear, smelling the food, roars and comes charging into the campsite. The cubs are scooped up by one of the group and run into the tent. The bear, looking for food, tears the stuffing out of the sleeping bags. Steve, Jeff, Crystal and Beri grab Burt and Ernie, put them in an ice chest for protection, and run down to the river to the canoes. Our group jumps into the canoes and take off, leaving the bear roaring at them back on the river bank.

In the meantime, Ben and Mason, both injured, are further down the river, unconscious. Once again, the same white wolf saves Ben and Mason's life by dragging them from the river. In their search for Ben and Mason, Jeff and Beri see the white wolf on the riverbank. Remembering Ben's story about the white wolf saving his life, Jeff and Beri follow the wolf. When they get to a cave, they find a family of white mice huddled together. Meanwhile, back at the new campsite, Crystal supervises Ben and Ernie playing on the riverbank with a fish in one of their mouths. After Ben and Mason have been rescued, the white wolf stands majestically nearby. After seeing that, Steve releases Burt and Ernie who run to the white wolf, whom it seems will become the cubs' new guardian. The intent of this film is to display the resourcefulness of young people when confronted with life threatening situations, as well as the true good nature of wolves.

WHITE WOLVES III: CRY OF THE WHITE WOLF (2000)

In this outdoor adventure, three young people find themselves fighting for survival in a frozen wilderness. They are put to the test when the plane taking them to a wilderness boot camp for juvenile offenders crashes. Their Indian pilot, Quentin (Rodney A Grant), injured and ununable to make the dangerous journey, teaches them the ways of his ancient people and to have faith in the spirit of the white wolf as well as themselves. Pamela (Mercedes McNab) and Jack (Mick Cain) must call upon an ancient Native American spirit of a legendary white wolf to help them survive. This movie shows how different characters have to work together, trust each other and the white wolf to lead them to safety. They only have to walk 200 miles to find the tiny ranger station in the middle of nowhere. Forced to rely on their wits and their limited knowledge of fending for themselves in the arctic, they receive life-saving assistance from an unlikely source--a white wolf which seems to understand their predicament as he helps them find food and shelter and guides them back to civilization.

Jack's mom: (Watching Pamela and her family coming) You're daughter better watch out, my son's a real ladies man.
Jack: Yeah. Haven't you heard I'm a "real ladies man"?

Pamela: (trying to start a fire with two sticks) This is impossible!
Quentin: Keep going. It's how man first made fire.
Pamela: Well that just shows you how great men are. If a woman had created this, it would be a lot easier!

Silver Wolf (1999) * * ½

The movie opens by introducing us to 16 year old Jesse McLean (Shane Meier), his father, and uncle Roy McLean (Michael Biehn). Roy is a Park Ranger and helicopter pilot who drops the father and son off at the top of a beautiful mountain for snow boarding when a sudden storm hits. After some impressive skiing and snowboarding footage, a tragedy occurs when Dad tries to rescue Jesse in the wilderness, but plummets down the mountain to his death. Jesse finds a seriously wounded young gray wolf he names Silver. However, when Jesse is rescued, Silver disappears and Jesse is desperate to find him.

Since Jesse and his Mom don't get along very well, Uncle Roy invites him to stay with him in his Park Ranger log cabin up in the mountains of Washington. Almost immediately upon his arrival, Jesse clashes with the local bullies and meets a cute young girl named Lucinda "Lucy" Rockwell (Kimberley Warnat). His new peer group sees him as an urban wonder. Jesse soon finds Silver, which he promptly decides to adopt and nurse back to health. After some hair raising experiences, with Silver almost biting off a couple of Jesse's fingers, the wolf bonds with Jesse and becomes like a domesticated dog and best friend. Unfortunately, Lucy's father John Rockwell (Roy Scheider), is a wolf-hater who often takes to the woods with his son Clay (Jade Pawluk) to shoot wolves. It was Rockwell who shot Silver. Rockwell wears a baseball cap instead of a Stetson and worries about his two children. He also cooks dinner for them, but that is the extent of the film's biographical details.

Jesse is trying to put his life back together after the death of his father, and bonds with Silver. Uncle Roy understands the dangers of trying to tend to a wild animal, but he allows Jesse to keep him. He is in charge of the wildlife in cattle country and helps his nephew to understand wolves. Roy suggests that donating the wolf to a zoo might be a better idea, realizing that the enraged Rockwell will kill it. However, Jesse, who is fond of snowboarding, teaches Silver to be his partner in skijoring, a sport in which a dog is used to haul a man on skis. There are some great shots of snowboarding and the use of dog pulling on skis, and also a big dog skijoaring competition.

The cattlemen's association is definitely against wolves running wild in their territory. John Rockwell is president of the association, and the owner of a nearby ranch with plans for Jesse's wolf. He angrily sees it as a threat to his stock and is determined that the wolf be destroyed. Rockwell is shocked and in despair when Lucy becomes very friendly and accepted by Silver.

Silver is allowed to enter the annual cross-country skijoaring contest with Jesse. They win despite Clay tormenting the wolf by sticking a wooden whip in it's face, causing Silver to attack. The movie concludes with the race in which Jesse uses a snowboard instead of skis, and a wild wolf instead of the family pet dog. Then it is time for Silver to go home to his wolf family. It is sad to watch him leave, but to see a wild animal that was captive become free makes the movie better. One early morning Jesse and Lucy take Silver in Uncle Roy's van into the deep woods around the majestic Cypress Mountain. They let Silver loose to reunite with the wolf pack that he was separated from when Rockwell shot him at the beginning of the movie.

Much of the film deals with the burgeoning friendship between Jesse and the recuperating wolf. There are several opportunities for Jesse to run afoul of the anti-wolf bullies and prove his worth by staying loyal to Silver, while always finding time to do a little snowboarding and woo the lovely Lucy. It's a good coming of age story tied nicely together with outstanding snowboarding and skijoaring footage.

More or less an updated variation on Jack London's classic "White Fang", SILVER WOLF is an old fashioned boy and his wolf melodrama that manages to hit all the right buttons without being too manipulative. Roy Scheider's menacing wealthy rancher John Rockwell is so much a caricature of a small town villain he should be twirling a long mustache, and the identity of the father of young Jesse McLean's love interest Lucy is howlingly obvious. The outcome of the big dog sled race is never in doubt, although there's a twist. But there's an innocent charm in SILVER WOLF that overcomes the genre's inherent obstacles. With many ideas appropriated from other family movies, SILVER WOLF will never win any awards for originality. Although it doesn't offer much that's new, the film as a whole is worth a look for those who love animals in general and wolves specifically.

Performances are a mixed bag with Michael Biehn as Uncle Roy and Kimberley Warnat as Lucy faring the best. Kim Warnat shows a lot of charm and screen presence as Lucy--apparently the filmmakers felt the same way and dress the pretty 17 year old in costumes that show a lot of cleavage. As Jesse, Shane Meier shows some fairly strong chops in a blandly written lead role. Meier does a fine a job interacting with canines as well as with humans. For sheer camp value, Roy Scheider is worth the price of admission. In his few scenes, he chews the scenery recklessly and seems to truly enjoy playing this one-dimensional authority figure with holy fury. He's a real hoot here. Veteran character actor Biehn offers a solid, if unspectacular, performance. He's effective, if a little remote, as the cheerful back-country lawman. It's not the usual action type film that Biehn is known for. In fact he's quite subdued here, yet gives a good performance helping his nephew come to grips with his father's death and saving a young wolf in the process. The wolf actor playing Silver gives a dignified and believable performance. This is a good family movie about a troubled teen who just lost his father, and is exposed to the great outdoors and given a new outlook on life.

The cast also includes: Lynda Boyd (Anna McLean), Don MacKay (Sonny LaFrambois), Trevor Roberts (Buddy), Ron Sauvé (Sheriff), T.J. Shanks (Clay's Friend), Reg Tupper (Funeral guest), A. J. Bond (Chaz), Samaya Jarley (Mary Clifton), Shaun Johnson, Reg Tupper (Investor), Christine Willes (Mrs. Gaten), and John Hawkes (David). Robert Carli composed the original music. Michael Amo wrote the screenplay. Peter Svatek directed.

One third OLD YELLER (1957), one third ROCKY (1976) and one third stunning snowboarding footage, SILVER WOLF suffers in large part from a simple lack of originality. Yet there are enough strong components to watch it if you like wolf movies. It's a simple little film that probably won't challenge adult movie fans, but with its positive messages and somewhat trite presentation, SILVER WOLF is at the very least a film you won't mind your kids watching. Unfortunately, this movie is difficult to find on DVD or VHS, a tragedy because it is a good film with a lot of emotion.

SILVER WOLF premiered as a made-for-TV Fox Family Channel original on January 10, 1999. A review compared the film to the "made for TV wildlife stories that were the weekly mainstay of "the Wonderful World of Disney" in the 1970s", but the reviewer acknowledged there are "certain story and visual elements that give the boy-and-wolf yarn a 90s spin. Silver Wolf is a pretty straight-forward film, relatively free of sentiment." Vancouver Today wrote: "The chief villain is Rancher John (Roy Scheider). Family films usually make their villains simple and Scheider's character is all gruffness and macho posturing. Silver Wolf won't be collecting any best-picture Oscars, but as family films go, you could do a lot worse."

The movie has some strikingly magnificent cinematography and its choreographed snowboarding scenes are breathtaking and quick paced. This film has great intentions and is entertaining for kids and adult animal lovers. The relationship between Meier and the young wolf is endearing as they develop an honest friendship. SILVER WOLF was shot on location in the Vancouver area, and one noteworthy component is the outdoor photography. The Canadian Rockies, with the scenic mountains at Whistler and Blackcomb, British Columbia are displayed in gorgeous fashion.

The Company of Wolves (1984) * * *

THE COMPANY OF WOLVES is a Freudian film version of Charles Perrault's "Little Red Riding Hood" set in modern times. It takes place in the frightening dreams of pubescent girl Rosaleen (Sarah Patterson). She dreams that she lives in a fairytale forest with her parents (Tusse Silberg and David Warner) and sister Alice (Georgia Slowe), but one day her sister is killed by wolves. While her parents are mourning, Rosaleen goes to live with her grandmother (Angela Lansbury), who knits a bright red shawl for her to wear. Granny warns her to never trust a man whose eyebrows meet in the middle and to be wary, not of the wolves that haunt the forest, but of the men who are hairy on the inside.

Granny: Never stray from the path, never eat a windfall apple and never trust a man whose eyebrows meet in the middle. Oh, they're nice as pie until they've had their way with you. But once the bloom is gone... oh, the beast comes out. Your only sister, all alone in the woods, and nobody there to save her. Poor little lamb.
Rosaleen: Why couldn't she save herself?

Mother: You pay too much attention to your granny. She knows a lot but she doesn't know everything. And if there's a beast in men, it meets its match in women, too.

Rosaleen returns to the village where her parents live, but finds that she must deal with the advances of an amorous boy (Shane Johnstone). Rosaleen and the boy take a walk through the forest, but the boy discovers that the village's cattle have come under attack from a wolf. The villagers set out to hunt the wolf, but once caught and killed, the wolf's corpse transforms into that of a human being.

Later Rosaleen takes a basket of goods through the woods to her grandmother's cottage, but on her way she encounters an attractive huntsman (Micha Bergese) whose eyebrows meet in the middle. He challenges her, saying that he can find his way to her grandmother's house before she can, and the pair set off. The hunter arrives at Rosaleen's grandmother's house first, where he reveals his bestial nature and eats her. Rosaleen arrives later and discovers the carnage, but her need to avenge her grandmother is complicated by her desire for the hunter. Ultimately the villagers arrive at the house, looking for a werewolf within, only to discover a transformed Rosaleen.

Granny: Get ye back to Hell from whence ye came!
Huntsman: I don't come from Hell, I come from the forest.
Granny: What have you done with my Grand-daughter?
Huntsman: Nothing she didn't want!

Rosaleen: (a lock of hair singes in the fireplace) Is that all you left of her? Your kind can't stomach hair, can you? Even if the worst wolves are hairy on the inside.
Huntsman: Are you very much afraid?
Rosaleen: It wouldn't do me much good to be afraid, would it? What big eyes you have.
Huntsman: All the better to see you with.
Rosaleen: They say seeing is believing, but I'd never swear to it. They say the Prince of Darkness is a gentleman. And as it turns out, they're right. A fine gentleman. Poor creatures. It's freezing cold out there. No wonder they howl so. I'm sorry. I never knew a wolf could cry.

Back in the present day, Rosaleen wakes with a scream. Countless wolves descend on her home, but most are actually large dogs--they don't have manes. The film ends in slow motion with a wolf smashing through Rosaleen's bedroom window: a very obvious phallic symbol. This wolf doesn't only smash the window, it also shatters the toys that are in its way.

Charles Perrault's moral from "Le Petit Chaperon Rouge" (1697) is then read over the beginning of the credits. The moral warns girls to beware of charming strangers.

Throughout the course of this gothic fantasy-horror film, a number of stories are interspersed into the main narrative as tales are told by several of the characters. Granny tells Rosaleen about a young groom (Stephen Rea) who is about to bed his new bride (Kathryn Pogson) when a call of nature summons him outside. He completely disappears and his bride is terrified to see wolves howling. A search the following day yields only a wolf paw print. Years later, she remarries and has children, only to have her original husband finally return. Angered at her having had children with a new husband, the groom transforms into werewolf form, but is slain when the new husband (Jim Carter) returns. Granny's second tale to Rosaleen is about a young man walking through the enchanted forest when he encounters the Devil (Terence Stamp), arriving in a chauffeured Rolls-Royce, who offers the boy a transformation potion, which ultimately monstrously transforms him against his will.

Rosaleen tells her mother about a woman (Dawn Archibald) who was "done a terrible wrong" by a rich young nobleman (Richard Morant) who turns up at his wedding party. She magically transforms the groom, the bride and the guests into wolves. They escape into the forest, but the sorceress commands the wolves to serenade her and her child each night. Rosaleen also tells the huntsman/wolf about a she-wolf who arrives at a village. Despite meaning no harm, she is shot by a villager. She reveals herself in her human form (Danielle Dax) to an old priest (Graham Crowden), who bandages her wound. Ultimately she returns to hell through the village well.

Old Priest: (to wolf-girl) Are you God's work, or the Devil's? Oh, what do I care whose work you are? You poor, silent creature. (he binds her wound) It will heal. In time.

THE COMPANY OF WOLVES takes you into the disturbing world of a young girl's imagination where wolves run wild and witches cast spells. The ethereal setting develops into a Freudian nightmare, explaining adolescence through a twisted reenactment of "Little Red Riding Hood." Definitely one of the strangest movies made--a strangeness that alienates itself from high ratings but guarantees it a top place as a cult classic. It successfully combines the complexity of written literature with the visual symbolism of film. But the depth of abstract ideas it delivers come at the cost of fluent comprehension. Many of the ideas in the film require the complete understanding of the smallest detail. This movie requires viewers to actively connect ideas from each scene and is not suitable for those only prepared to watch a superficial horror flick.

Essentially a coming-of-age story, the movie came from a compilation of several short stories from Angela Carter, a short story writer who writes about women and adulthood. Carter is known for her attempts to deconstruct fairy tales in terms of adult meaning and to bring out an underlying Freudian subtext. Neil Jordan, the director of the movie, is a less known writer of horror novels, but a very well known director. Both took an active part in the adapting and expanding the story for the movie. The film is mostly based on Angela Carter's "The Company of Wolves" and "Wolf-Alice" from her book "The Bloody Chamber".

There is no linear story, rather the film is a series of vignettes and dreams within dreams, all of which point to old wives tales and folk superstitions. The film is a dark retelling of the classic fairytale "Little Red Riding Hood", making explicit its sexual and Freudian subtext. Perrault's original morality fable warns children not to trust strangers or stray from the path. However, Rosaleen doesn't simply fear being devoured by a wolf: she fears being sexually devoured. It is this fear and fascination with sexuality that is the heart of the film, a theme emphasized by the recurrent apple and the snake in Eden motif symbolizing sexual temptation, seduction, and loss of innocence. Despite her blossoming sexual awareness, Rosaleen fears marriage and adult responsibilities. Granny's warnings do nothing to dispel these fears, and she kisses a handsome man-wolf, choosing to become a wolf rather than his victim. She escapes the dreary conventional life that would have faced her, and instead finds personal and sexual freedom. The film uses the changing body of the werewolf as a metaphor for the horrors of puberty, menstruation, and sexual maturity. It's symbolism suggests that while adulthood and sexuality can be threatening, it can also be a desirable and necessary transition.

The cast also includes: Brian Glover (Amorous Boy's father), Susan Porrett (Amorous Boy's mother), Dawn Archibald (Witch Woman), Vincent McClaren (Devil Boy), Ruby Buchanan (Dowager), Jimmy Gardner (Ancient), Roy Evans (Eyepatch), Edward Marsen (Lame Fiddler), Jim Brown (Blind Fiddler), and Jim Carter (Second Husband). George Fenton composed the original music. Neil Jordan wrote the screenplay from Angela Carter's story. Neil Jordan directed.

The choice of music and sound becomes part of what the movie conveys. Classical and Irish music goes well with THE COMPANY OF WOLVES, creating the eerie ethereal atmosphere for the movie. In the wedding scene there is a good mix of classical and carnival music, re-enforcing the paradox amid the chaos of the ensuing horror brewing in the pack of wolves.

Music Track listing

1. "The Message And Main Theme"
2. "Rosaleen's First Dream"
3. "The Story Of The Bride And Groom: The Village Wedding/The Return Of The Groom"
4. "The Forest And The Huntsman's Theme"
5. "The Wedding Party"
6. "The Boy And The Devil"
7. "One Sunday Afternoon"
8. "All The Better To Eat You With: Arriving At Granny's Cottage/The Promise And Transformation"
9. "The Wolfgirl"
10. "Liberation"

Good acting in the movie definitely adds to the power of the story. Sarah Patterson and Angela Lansbury do an excellent job. The entire cast is impressive, even the priest in the trees. Special effects used in the movie are a little outdated by today's digital-age standards. However, the incredible setting, scenery shots, and props successfully maintain the enchanting atmosphere required by the story. Almost everything in the movie is deliberate. Grandma's head is supposed to shatter, because it was intended to be symbolic.

It's difficult to make sense of THE COMPANY OF WOLVES, but it is frequently quite funny, and often meant to be. The special-effects people come up with a couple of comparatively conventional, horror-film decapitations and several unconventional ways in which men can turn into wolves on camera. This Red Riding Hood, sharing a single-room cabin with her mother and father, witnesses what in analysis is usually called ''the primal scene.'' The next morning she asks her mother if her father had hurt her. Mother answers, ''If there's a beast in men, it meets its match in women, too.''

The wolves are also a key to understanding this superficially puzzling film. It is very important that not all of the wolves in the film are male. The beast in women that Rosaleen's mother assures her daughter of is a feminist rebuke of the young woman as hapless victim--as sexual prey for a predatory male. These assurances also become fantastical reality later in the film. After Rosaleen's huntsman is reduced to a rather tame and whimpering wolf, she pets him and tells him the tale of a she-wolf before becoming one herself. Rosaleen's transformation seems both voluntary and freeing. It offers us a definitive reversal of the victim role in which Red Riding Hood and those interchangeable female horror film characters are typically cast. Although it is a lurid horror film, THE COMPANY OF WOLVES does not simply play on or reinforce the sexual anxieties of its audience. Instead, it presents both sides of sexuality, both threatening and desirable, as well as a level playing field for both genders.

Filming took place at Shepperton studios in England, with a cast primarily made up of British actors. THE COMPANY OF WOLVES found an appreciative audience among audiences and critics in the UK, but its US release was a disaster. Cannon bought the distribition rights and tried to market it as a gory horror film. There are some gruesome moments, but this movie would never satisfy an audience looking for cheap thrills. Financially, the film only broke even on its opening weekend in the U.S., having been made for approximately $2 million and taking $2,234,776 in 995 theaters. However, in total, the film took over $4 million in the U.S.

Critics generally responded positively to the film's aesthetics. Feminist critic Maggie Anwell decried the film for its over-emphasis on bloody werewolf special effects, but Charlotte Crofts argued that the film is a sensitive adaptation of Carter's reworking of Charles Perrault's "Little Red Riding Hood" fairytale. The film won one award for best film and best special effects and was nominated for four BAFTAs for costume design, make up, production design/art direction and special visual effects.

In the DVD commentary, Neil Jordan notes the difficulty of having to create the look of the film on a limited budget, having to create a fairytale forest out of "twelve trees." He nevertheless succeeded in creating a sunless, mystical, wondrous and claustrophobic setting saturated with fantastic elements and symbols. The script required a great number of wolves to appear. However, due to budgetary constraints and other factors such as cast safety, most of the "wolves" shown in the film are Belgian Shepherd Dogs, mainly Terveurens and Groenendals, whose fur was specially dyed. In the DVD commentary for the film, Jordan notes the bravery of young star Sarah Patterson when acting among the genuine wolves. Using particular light angles, the eyes of both real and "shepherd" wolves are made to glow dramatically in the film.

The Call of the Wild (1972) * * ¾

(first lines: narration)
The Indians in this frozen land tell of a ghost dog which runs at the head of a wolf pack. They are afraid. For it has more strength than any wolf, more cunning than any dog. No one knows from whence he came or why he stays. (Chapter 7: "The Sounding of the Call" from the book "The Call of the Wild" by Jack London.)

The movie begins with a winter scene of a pack of wolves including a German Shepherd dog surveying and then preying upon a large herd of caribou. It then cuts to the summer of 1897 in Santa Clara, California where Buck, a loyal spirited German Shepherd has it made as the family pet. That is until it is discovered that he is worth his weight in gold, or at least $75. He is sold to a broker who takes him to the Klondike where only dogs can do the work usually done by horses. There Buck goes through many lives, trials, and tribulations, and finally realizes his potential. On the way he learns many concepts such as surprise, deceit, cunning, loyalty, devotion, and love. As he is growing he feels "the call of the wild".

During the 1898 Klondike Gold Rush, Buck is sold as a sled dog to rugged and fearless John Thorton (Charlton Heston), a kindly prospector out to make it rich in the snow-covered Yukon. Thorton is a twenty year veteran of Alaska and its harsh living and traveling conditions. He saw opportunity in the gold rush but it wasn't the gold. His plan was making his money by selling supplies to the onslaught of would be miners. John and his partner Pete (Raimund Harmstorf) landed their first job delivering mail for the U.S. government to isolated gold towns. All they needed for this job was knowledge and a good dog sled team. They had the knowledge and purchased the dogs.

Pete: I've never seen so many people.
John Thornton: And more are coming all the time. I tell ya, Pete, if this is the promised land, I'll take the open trail.

One of the dogs Thorton buys is Buck. They are both lucky to have each other. Unaccustomed to the freezing temperatures and snow through which he must pull Thorton's sled, Buck finds his new life quite difficult. However, Thorton does whatever he can to help Buck make the transition. As a result, a bond and unique friendship is formed between man and dog, and together they are able to endure the frigid weather and hardship of the wilderness, the savage lawlessness of the men who call it home, and survive life in the treacherous frozen North. Buck is a very intelligent German Shepard and learns to lead the team in no time. He is in good hands with Thornton who knows how to treat his dogs and actually cares for them. A lot of the greenhorn gold seekers treat their dogs badly and end up getting themselves killed along with their dogs.

Thorton and his team make their tough journey to Skagway and deliver the mail. Buck leads the dog team in covering the treacherous 600 mile journey from Skaguay to Dawson as the lead sled-dog in record time when no other dog team and it's owners would dare to try it. While the dogs are in a kennel for some much needed rest, some unscrupulous characters who couldn’t buy the dogs from Thornton steal the tired dogs. So with no rest at all the dogs are back out in the Alaskan countryside with a couple of thieves intent on making some big money. There are no other dogs in the town, so there is no way for Pete and Thornton to go after their dogs--they are gone. Buck is very smart and his captors die. One falls into a frozen river, and the other is frozen solid to the sled. The dogs take the sled to a small town where they are "claimed" and sold at an auction.

John Thornton: You hit that dog one more time, I'm gonna kill ya.
Hal: Go to hell! He's mine and I'll do what I like with him.
John Thornton: I shot four varmints already this morning. One more don't matter none to me.

Buck is stolen a number of times from Thorton, and once is almost shot and killed by the local bootlegger, but Buck always manages to escape and return home to John and Pete. Later Buck begins to yearn for a home in the wild. In the woods he develops a strong friendship with the local Timber Wolves. Torn between his two kind and caring human masters and his wolf family, Buck can't quite bring himself to break away from civilization to live in the wild. But one night a band of Indians attack the cabin where Thorton and Pete are staying and kill both of them. Buck and his wolf pack try to come to their rescue but are too late to save them.

With the two humans whom Buck loved now gone, he can now return to his distant descendants, the wild wolves in the dark and cold woods of the Klondike. In the end, Buck answers to something that was ingrained in his consciousness from the thousands of generations of canines that he evolved from: The Call of the Wild.

Academy Award winner Charlton Heston heads an international cast as John Thornton in this adaptation of the classic adventure novella by Jack London, famed author of "The Sea Wolf" and "White Fang". Like most movies based on great books, it falls a bit short. The directing was good, and the film has a good pace to it with a decent mixture of Alaskan scenery, action, romance, dreams, dogs and bad guys. And the story doesn't opt for the Hollywood "happy ending", it is a much more realistic.

The film was actually shot in Finland, but it looks like Alaska, with spectacular scenery. Acting is top notch. Heston gives us his usual with a great performance. Also very good are Raimund Harmstorf as his partner Pete, and Michèle Mercier as Calliope Laurent. The best acting of all may come from the dog Buck, especially when he interacts with the wolves . He does a remarkable job and makes his role a real character and not just an animal doing tricks. The sets are also noteworthy, with the era, clothing, gear and sets believably authentic and very well done. It's very reminiscent of the WHITE FANG (1991) sets, but they look even more authentic. The cinematography is very good with many outdoor shots of the pristine frozen wilderness. However, the lush music score doesn't always fit the film--it's a bit over dramatic and unsuitable at times. Near the beginning there is some choir music more appropriate for a horror film.

The cast also includes: George Eastman (Black Burton), Maria Rohm (Mercedes), Juan Luis Galiardo (Seze), Sancho Gracia (Taglish Charlie), Friedhelm Lehmann (Charles), Horst Heuck (Hal), Rik Battaglia (Dutch Harry), Alf Malland (Constantine), Alfredo Mayo (Judge Miller), Sverre Wilberg (Colonel), Olov Pedersen (Red Sweater), Per Amvik (François), Torbjørn Halvorsen (Perrault), Hans Stormoen (Master of Ceremonies), Kåre Siem (Piano Player), Dan Rosse (Old Miner), Roy Bjørnstad (Storeman), Ola B. Johannessen (Con Man), Per Tofte (Runner), Antonio Mayans (Jack), Jennifer Roberts (Mollie), Jody Hanson (Alice), Luis Barboo, Charly Bravo, and Buck the dog (Buck). Carlo Rustichelli composed the original music. Peter Yeldham, Win Wells, Harry Alan Towers, and Tíbor Reves wrote the screenplay based on Jack London's book. Hubert Frank wrote the German screenplay. Federico De Urrutia wrote the Italian screenplay. Ken Annakin directed.

This wonderfully naturalistic movie is not for the weak at heart. The story line was taken from Jack London's adventures of his own life experiences. It's moving and not supposed to be easy on the emotions. This film holds nothing back. All the highlights of the original story are portrayed and Charlton Heston has the main character John Thornton down to a tee. And unlike some Disney versions we see Buck's tribute and love for John. It's an adventure movie that parents and kids can enjoy together. However, the love story between Thorton and Buck is beautifully captured but some should be warned that there are a lot of scenes of animal abuse, which will certainly bother some.

The film is a European co-production with actors of several nations: German Raimund Harmstorf, French Michele Mercier, English Maria Rohm, Spanish Juan Luis Galiardo, and Italian George Eastaman. Charlton Heston said this is his worst film, but it is entertaining and watchable although it has a familiar story. This is definitely a European-style film from the 1970s. Everything about it speaks loudly about the European influence: the cast, the music, the cinematography, and the editing. Heston isn't miscast here like some say, he's just very different from what might be expected, but does an admirable job. Some of his best film work was during this time, not the studio blockbusters he was known for prior to this.

THE CALL OF THE WILD has been adapted to film a number of times. In 1908 D.W. Griffith produced an American short film. A 1923 version directed by Hal Roach starred Jack Mulhall. In 1935, William Wellman directed Clark Gable and Loretta Young in a Hollywood-style romance about a young widow and a Yukon prospector. A popular success, this version of the film took various liberties with London's plot. In 1976 James Dickey wrote the script for a made for TV movie starring John Beck as John Thornton. In 1997 THE CALL OF THE WILD: DOG OF THE YUKON was made in Canada for TV, narrated by Richard Dreyfuss and starring Rutger Hauer. CALL OF THE WILD is also a 2000 TV series on Animal Planet. In 2007 a documentary THE CALL OF THE WILD was produced about the American wanderer Christopher McCandless.

In Jack London's book, Buck's father was a Saint Bernard and his mother was a German Shepherd. The German Shepherd or Alsatian breed was created in 1889 by Captain Max von Stephanitz. He used a breeding "formula" which included 25 to 35 % wolf. All dogs trace their ancestry back 10,000 years to Old World wolves, but the German Shepherd is one third "recent wolf".

White Fang (1991) * * *

A fluffy white rabbit is seen at the beginning of WHITE FANG, attacked and devoured by a wolf pack almost before the opening credits are over. It's a scenic and enveloping nature film about a young man and his pet wolf. The movie is adapted from Jack London's classic 1906 novel "White Fang", a tale of a wolf and his encounters with civilized man. "White Fang" is basically a sequel to "Call of the Wild", Jack London's 1903 story of a dog who becomes wild and leads a wolf pack, whereas "White Fang" is the story of a wolf who eventually lives a dog’s life with a loving master. Most of the encounters are between animals and are presented from the wolf's point of view.

This movie has almost nothing to do with London's novel. The screenwriters invented a seasoned gold miner named Alex Larson (Klaus Maria Brandauer) and a city kid named Jack Conroy (Ethan Hawke), who comes to Alaska to pick up his father's prospecting claim, to fulfill his father's dying wish to find gold in the Yukon Valley. It's a familiar story: boy meets wolf, boy loses wolf and so on. When Jack first arrives in the Klondike, he catches sight of a "golden staircase", an endless line of miners climbing a snowy trail high up a mountain peak. The film includes many other Alaska images as strikingly beautiful as this.

Jack finds his father's old partners: the moody foreigner Alex Larson and the amiable but wild Skunker (Seymour Cassel). Ringleader Alex reluctantly agrees to let Jack accompany them as they travel to bury their partner Dutch. Before this man can be buried, the expedition becomes imperiled by a couple of gruesome but rivetingly staged mishaps. Skunker and Alex may not be the easiest two men to get along with, but they're all the company Jack has in braving the treacherous Yukon Territory. Alex guides Jack to his father's claim. On the quest, the men must endure grueling weather, thin ice, and a hungry pack of wolves. This last obstacle provides the film's second central orphan, a wolf who comes to be adopted by Han Indians and named Mia Tuk, which translates as "White Fang."

Jack Conroy: Is there any good reason why we can't just bury him here? I don't think he'll know the difference.
Alex Larson: I gave him my word.
(They have just finished burying Dutch)
Alex Larson: Let's move out.
Jack Conroy: Aren't you going to say anything?
Alex Larson: You know what?
Jack Conroy: What?
Alex Larson: I never really liked the bastard.

(About Jack Conroy)
Skunker: What's he doing?
Alex Larson: Cleaning his teeth.
Skunker: How'd they get dirty?

Jack Conroy: What's his name?
Grey Beaver: Mia Tuk.
Jack Conroy: What's that mean?
Grey Beaver: White Fang.

As the film progresses, each of its two narrative threads moves from the peril-laced wilderness to the seemingly safer confines of domesticity. For Jack, this means digging for gold and teaching Alex to read on the side. For White Fang (Jed), his relocation to a nearby harbor town brings a far worse fate. His new owners transform him into a savage warrior in illegal to-the-death dogfights that allow them to prosper.

Because the film's story has been stitched together out of separate episodes, it is held together chiefly by White Fang himself. He is a hybrid wolf, ¾ wolf and ¼ dog. First glimpsed as a puppy, he is later found in an Indian settlement working for Grey Beaver (Pius Savage), who views him as a resource rather than a pet. When Jack finds White Fang living under these circumstances, he is saddened but helpless to rescue the animal. Only when White Fang is sold to the evil Beauty Smith (James Remar), who trains him as a fighter, does Jack have an opportunity to retrieve and rehabilitate his animal friend. Beauty and his lackeys train White Fang to hate so he can win vicious dogfights and earn money for his opportunistic owners. White Fang is put in an illegal dog fighting pen where he becomes a professional, experienced and cruel killer.

Jack rescues the wolf, which he names White Fang, a kindred spirit who changes his life forever. They have adventures and make a few enemies on their way to finding the gold mine. From the taming of a wolf, to the taming of the wild, Jack must find the courage to conquer his fears and become a man in this spectacular outdoor adventure. When a group of criminals tries to steal Jack's gold, White Fang is the only one who can help him to fight them off.

Jack and White Fang must endure some trying times, and one of these--a close encounter with a big brown bear--involves both, as the wild dog stands up to the much larger, more imposing foe and saves the terrified Jack's life. The incident reinforces Jack's admiration for the fierce wolf. While the two part ways--Jack with Alex to reach his father's isolated cabin, White Fang to remain an unappreciated worker for the Han--it's inevitable that their paths will cross again. The movie does forecast its moments of danger and suspense a bit more than needed, but this is probably the only way of catering to its family film classification.

The film's picturesque episodes include scenes of the young White Fang exploring an ice cave, glimpses of the young wolf fishing and a wolf versus bear fight featuring the animal actors Jed and Bart, both of which perform well. Humans are upstaged by both the animals and the stunning Alaskan landscape, from the snow-covered mountains and frozen lakes of winter to the rich green forests and whitecap rivers of summer. The simulated scenes of dogfights and wild wolves hunting game are carefully shot to avoid bloodshed, but they may still be too intense for young children. Among the sorts of incidental touches that help sustain interest, the film also shows how gold is mined and tested. However, the film has a savage wolf pack attacking some humans and gobbling up another off-screen. These scenes trouble naturalists battling centuries of anti-wolf prejudice. Albert Manville, a senior biologist for the Defenders of Wildlife and a consultant on the movie, objected to the wolf attack scene during production. Disney quickly agreed to run a disclaimer reminding audiences, "There has never been a documented case of a healthy wolf or pack of wolves attacking a human in North America."

WHITE FANG is a sweet, understated movie. As the best-known of at least eleven film adaptations that date back to 1925 and span the globe, this version may not satisfy those expecting a faithful retelling of London's famous novel. Perhaps inevitably, the author's unique manner of prose, animal point-of-view, and comments on violence and civilization get lost in favor of a somewhat simple but poignant human-driven story. Still, the movie seems to have its heart in the right place, celebrating some easily supportable spirit, even if it's not London's. For viewers unfamiliar with London's book, it is a great movie.

Dialogue is used sparingly and always serves the film and its characters. Director Randal Kleiser brings a steady hand to the proceedings, which never wander into sentimentality. Even the semi-clear parallels between Jack and the wolf are never overplayed for the sake of young audience members. The movie boasts impressive photography of the snowy and mountainous scenery (Alaska fills in for the Yukon) and a pleasing prominent score from Basil Poledouris. Ethan Hawke proves competent in a role that transitioned him from child actor to young leading man, Seymour Cassel is very memorable in his limited screen time, and Jed the hybrid wolf gives a superb performance.

An adventurous film that's almost certain to frighten youngsters, WHITE FANG feels like one of the last installments in the era of edgy live-action fare that marked 1980s Disney. Though not humorless, White Fang definitely merits a PG rating, with several intense action sequences that has disclaimers both at the beginning and end vouching for the filmmakers' humane treatment of animal actors. There is also a scary blue corpse. Though not excellent, this period drama succeeds in evoking sympathy for and interest in its compelling human and canine leads. While it's too intense for younger children, older kids and adults should easily take to this film. It's straightforward and fairly simple, but difficult not to like, a heart-warming story with good performances and photography that captures all the epic majesty of the Alaskan landscape.

The cast also includes: Susan Hogan (Belinda Casey), Bill Moseley (Luke), Aaron Hotch (Little Beaver), Charles Jimmie Sr. (Older Indian), Clifford Fossman (Old Timer 1), Irvin Sogge (Old Timer 2), Tom Fallon (Prospector), Dick Mackey (Sled Dog Prospector), Suzanne Kent (Heather), Robert C. Hoelen (Bar Patron), George Rogers (Registrar), Michael David Lally (Sykes), Raymond R. Menaker (Shopkeeper), David Fallon (Lookout), Michael A. Hagen (Teenager), Diane E. Benson (Grey Beaver's Wife), Robert Scott Kyker (Frozen Prospector 1), Tom Yewell (Frozen Prospector 2), John Beers (Sykes' Dog Handler), Van Clifton (Piano Player), Jim Moore (Violin Player), Marliese Schneider (Woman of the Night), Bart the Bear (The Bear), and Jed the hybrid wolf (White Fang). Basil Poledouris composed the original music. Jeanne Rosenberg, Nick Thiel, and David Fallon wrote the screenplay from Jack London's novel. Randal Kleiser directed.

Though treated to a 16x9 enhanced transfer for DVD release overseas, WHITE FANG is relegated to a 1.33:1 fullscreen presentation in the US, mildly differing from its 1.85:1 theatrical aspect ratio. Compared to the Region 2 disc, this is an open-matte presentation. While that means that cropping on the sides is usually minimal, careful compositions are sacrificed with the addition of excess space at the top and bottom of the frame. The removal of mattes is more noticeable here than on similarly-processed films. Furthermore, the picture quality just isn't very good. The opening credits and logo are especially spotty and plagued with artifacts. Even if the apparent shortcomings of optical shots can be quickly forgiven, the entire film looks grainy, blurry, and soft. It never allows the detail or sharpness that DVD usually provides and, in turn, the movie feels a little more distant than it should.

There's not as much to complain about with the Dolby Surround soundtrack, but it sets no standard for quality. Dialogue is often difficult to make out, perhaps due in part to the authentic environment or Mr. Brandauer's thick accent, though I think some blame probably lies with this DVD's sound mix. On the other hand, Poledouris's fine score is nicely conveyed, spreading into the rear channel to add a welcome layer of depth. There are no bonus features, not even a sympathy stretch like a set of promos for the studio's other DVDs. There's nothing except a Spanish audio track. The 4x3 menus are as basic as possible, with the still, silent screens featuring wintry imagery from the film.

It's always frustrating when a movie gets treated to an extremely feeble DVD, one which flounders in the picture and sound departments, provides no bonus features whatsoever, and fails to even present the film in its intended ratio. It's all the more disheartening when the movie has merit, as this one does. WHITE FANG would merit consideration for nearly any DVD collection were it treated with some respect or at least underwent a couple more price cuts. As it is, this presentation is nearly as much a letdown of a DVD as its 1994 sequel is of a movie.

Disney released the sequel WHITE FANG 2: MYTH OF THE WHITE WOLF four years later in 1994. Besides the presence of a hybrid wolf (part dog) named White Fang and its setting in the Alaska Gold Rush days, the story bears no resemblance to London's original story. Jack Conroy (Ethan Hawke), the hero of the first Disney film, has bequeathed his gold mine and the wolf White Fang to young Henry Casey (Scott Barstow). The boy and wolf thwart a would-be thief and decide to take their gold to San Francisco. While rafting to the nearest town, they capsize, lose their gold, and are separated. Lily Joseph (Charmaine Craig), a young Indian princess, rescues Henry from the rapids. She, along with her tribal chief Moses Joseph (Al Harrington) and his followers, believes that Henry is the reincarnation of a great spirit wolf who will help the Haida tribe find the Great Caribou. Henry and Lily fall in love, and Henry sets out to find the legendary Caribou who will save the tribe from extinction.

The pair must rely on their sharp, cunning instincts for survival when they risk it all to protect a peaceful Native American tribe whose homeland is targeted by dangerous miners. Henry Casey and White Fang help the Indian tribe solve the mystery of their disappearing caribou supply. Combining incredible outdoor action and breathtaking wilderness scenery, this is a rousing story of extraordinary courage and bold determination. Although some scenes take place in the dwellings of Henry and the Indians, most of the action takes place outdoors. In one of the first action scenes, White Fang jumps through an open window in Henry's cabin to stop an intruder outside who is about to shoot Henry. This was a completely open window, posing no danger to the dog. White Fang was played by several dogs.

Like every sequel Disney makes, WHITE FANG 2 is inferior to the original. What makes it inferior is not that it is rehashing the same concept, because it actually moves away from the ideas and focus of the original movie. WHITE FANG 2 capitalizes on the wolf's heroic qualities seen from the ending moments of the original to carry an entire film. We're still in Alaska, and it's still the same time period, but the sequel's story focuses on Jack's friend Henry Casey, whom he has left in charge of his cabin and gold-mining operations. Ethan does appear in the opening sequence, as he writes a letter from the San Fransisco hotel that he is now working on with Alex. It is this one brief appearance at the opening that is probably the best part about WHITE FANG 2. The new star of the show is Scott Bairstow and his adequate performance is the sole beacon of hope in this disappointing film.

The Journey of Natty Gann (1985) * * ¾

In 1935, 14 year-old Natty Gann (Meredith Salenger) lives in Chicago with her father Sol (Ray Wise) and her dog. She sneaks cigarettes in the bathroom, and gets into scuffles with the boys who are her friends. Natty is an old-fashioned tomboy heroine who is feisty and spunky. Her father, her one living parent leaves their Chicago home to work in the state of Washington at a logging job. He has to leave so quickly that there isn't time for him to say good-bye to Natty. With only an hour or so to get on the bus, he arranges with Connie (Lainie Kazan), the burly, bad-tempered landlady of the rooming house where he and Natty are living, to look after Natty until he can send for her. After overhearing Connie reporting her as an abandoned child, Natty is only temporarily daunted by this setback. She quickly takes matters into her own hands and runs away.

Sherman: Sol, you got no choice. It's a job.
Sol Gann: Yeah.
Sherman: Oh, no, Natty. (puppy yips in background) Do I look like an animal shelter?
Natty Gann: Don't worry, I'll keep this one.
Sherman: That's what you said the last time.

Natty hits the rails and heads west in a quest to find her father, and has many anecdotal bittersweet adventures. On her journey, she comes across all sorts of people, and very few are interested in helping her. Some of the cruel or kindly strangers she encounters take her in. There are many scenes of Natty barely making it through her scrapes as she rides in rail-road cars, backs of trucks, and hikes her way through the woods trying to find her way to Seattle. Her unpleasant encounters and various obstacles test her courage, perseverance, and ingenuity. She is tough enough to eat a wild rabbit for food, but still cringes when she has to gut it with her pocket knife. There are definitely some tense, scary moments on her journey. Natty's saving grace is that she finds parent figures along the way.

Logging Boss: What's the matter, Gann?
Sol Gann: They found my kid's wallet buried under a train in Colorado.
Logging Boss: Ah no.
Sol Gann: What the hell was she doing in Colorado?

To a great extent, this is a girl meets wolf love story, with some of the film's most satisfying moments being those between Natty and Wolf (Jed), the animal companion she encounters and befriends, and who quickly gives her his complete devotion and protection. They travel together for much of the movie. As Wolf, Jed the hybrid wolf (part dog) gives a brilliant and believable performance. Salenger is equally excellent, and she carries the movie nicely. Her scenes with Wolf are as moving as anything that takes place among the film's human characters.

Harry: Nice dog.
Natty Gann: It's a wolf. I'm cold.
Harry: Buck up kid, will ya?
Natty Gann: I'm bucking! (turns to Wolf) I'm bucking, right?
Harry: You're a real woman of the world, kid.
(Harry has just hauled Natty into the boxcar, where she was dangling dangerously over the edge)
Harry: You know, uh, you can get hurt that way.
Hobo: I thought that one was a goner. Rail meat. Little bits of blood and busted...
Harry: Leave the kid alone!
Natty Gann: You ain't seen Chicago, you ain't seen nothin'.
Harry: (opens the door to a barn, looks inside, then speaks to Natty) It looks safe. Come on. Come on! It's empty! Nothin' in here but a pig, and he sure don't care.

Louie: Shh. Hold your ears.
Natty Gann: What?
Louie: Don't listen.
Natty Gann: Don't be dumb. I've heard a man pee before.
Louie: Yeah? Where?
Natty Gann: None of your business.

She meets a farm wife (Verna Bloom), tough but nice juvenile delinquent Parker
(Barry Miller), and Harry (John Cusack) who similarly lost his own father years earlier and had to survive the harsh world of a drifter. The pair develop an innocent romantic attachment. Harry teaches her how to ride the rails and offers her his meager can of beans when she's hungry. Because of his fatherly kindness to Natty, it's a little off-putting when a romance blooms between the two. Harry's role is well acted and richly developed, but frustration comes from the misleading cover art and posters. The viewer would think that he's in almost every scene and carries the film with Meredith Salenger. Harry is half of this movie but still doesn't have enough screen time to warrant second billing above Natty's father or even the wolf. Still, Harry helps this film, keeping his fedora firmly in place with his small share of running, jumping and falling off of water towers. Meanwhile, her father has found out about Natty's disappearance and, seriously worried, sets out to look for her. There is genuine pathos in the final development of events.

THE JOURNEY OF NATTY GANN is a subtle road movie that captures the feel of the Depression era. The despair of the time looms over the entire movie, but equally present is a sense of hope in Natty's journey. It's not a perfect movie, but it's certainly an intelligent and thoughtful one, enjoyable but rather slow. NATTY GANN is both a period piece which captures the spirit of 1930's America and a coming-of-age adventure story for its title character. Though good-hearted it is relatively uninvolving, and the whole thing should probably be a good deal more wrenching than it feels. Granted, it follows the Disney formula but it has the cuts and scrapes from playing too close to the razor’s edge. It's rough around the edges and yet isn't a movie that you would be embarrassed to see with your kids. It's suitable for all audiences, but contains a little bit of strong language and a couple of mildly gory lumbering accidents.

The cast also includes: Scatman Crothers (Sherman), Bruce M. Fischer (Charlie Linfield), John Finnegan (Logging Boss), Jack Rader (Employment Agent), Matthew Faison (Buzz), Jordan Pratt (Frankie), Zachary Ansley (Louie), Campbell Lane (Chicago Moderator), Max Trumpower (Chicago Worker), Doug MacLeod (Chicago Worker), Gary Chalk (Chicago Worker), Dwight McFee (Chicago Worker), Peter Anderson (Unemployed Worker), Corliss M. Smith Jr. (Bus Driver), Hagan Beggs (Policeman), Ian Black (Hobo), Ray Michal (Hobo), Clint Rowe (Bullwhip), Frank C. Turner (Farmer), Jack Ackroyd (Grocery Clerk), Grant Heslov (Parker's Gang), Gary Riley (Parker's Gang), Scott Andersen (Parker's Gang), Ian Tracey (Parker's Gang), Jennifer Michas (Parker's Gang), Wally Marsh (Interrogator), Kaye Grieve (Matron), Hannah Cutrona (Twinky), Gabrielle Rose (Exercise Matron), Marie Klingenberg (Dormitory Matron), Stephen E. Miller (Guard), Robert Clothier (Railroad Official), Don S. Davis (Railroad Brakeman), Alex Diakun (Station Master), Tom Heaton (Railroad Deek), Harvey M. Miller (Railroad Deek), Sheelah Megill (Lady at Mill), Jeff Ramsey (Logging Driver), Gary Hendrickson (Logger), Wally Beeton (Logger), Doug Boyd (Logger), Bryan Couture (Logger), Al MacIntosh (Logger), Lorne LaRiviere (Logger), Bob Storms (Logger), Nancy-Rae Aaron (Girl Hobo), Rachael Clark (Destitute Child), David Paul Hewitt White (Unemployed worker), and hybrid wolf Jed (Wolf). James Horner composed the original music. Jeanne Rosenberg wrote the screenplay. Jeremy Kagan directed.

Music Tracklist:

01. Main Title (01:57)
02. Leaving (03:21)
03. Freight Train (02:45)
04. First Love (03:31)
05. Into Town (02:32)
06. Goodbye (02:22)
07. Rustling (03:07)
08. The Forest (02:01)
09. Early Morning (01:45)
10. Getting There (01:14)
11. Farewell (03:23)
12. Reunion – End Title (05:10)
13. Locked Up (03:12)
14. Hotel Escape (01:54)
15. Riding The Rails (01:29)
16. To Seattle (03:18)

On DVD you feel as if you're only seeing half the picture. And you are. Since THE JOURNEY OF NATTY GANN is a 2.35:1 widescreen film, and Disney has released it exclusively in Pan and Scan, the result is a loss of just under 50% of the image. The video quality on this DVD is horrible. It looks like an old, worn-out videocassette. The picture is extremely soft and grainy, and it feels as if the movie is about twice as old as it really is. Detail is awful, the entire video just feels soft and faded, like a dollar bill having been run in the washing machine. There are digital artefacts and other distracting flaws throughout, a number of framing problems that result from the pan and scan, and significant image loss. Furthermore, the wide photography of the images in nature that play a large role in the film's journey are rendered completely ineffective. You are constantly aware that the picture is heavily zoomed in and that you are missing much visual information.

It's a shame that the filmmakers spent time and effort to frame Natty Gann meticulously, only to have the movie drastically chopped up to fit the dimensions of a 4 x 3 television set. The quality of the film in general varies from crystal clear landscapes to grainy night and interior shots. Had Anchor Bay held onto the DVD release rights to this film that they once had, we would have undoubtedly seen a 2.35:1 widescreen transfer, and there is no way it could look as bad as the pan & scan transfer looks on this DVD. It's tragic that a great movie with some truly majestic outdoor photography and impressive set designs is released in a disappointing version. There's some hope that if this is ever released on Disney Blu-Ray that we'll get to see the non-cropped version of this for the first time in over 20 years.

Matching the video quality in terms of futility, the audio mix for THE JOURNEY OF NATTY GANN sounds like an old worn-out videocassette. The track sounds distant and lacks clarity throughout. It's almost as disappointing as the video. There are a number of instances where, if you haven't seen the movie before, you'll have to rewind to hear what was said. Either that, or there's the English subtitles which can decode some of the fuzzy dialogue. Like the other recent live-action catalogue Disney DVD releases, NATTY GANN has nothing in the way of extras. No trailer, no production notes, no making-of features, no cast and crew bios and notes. Absolutely barebones for this disc, which looks like it was made in the time it took to convert the laserdisc files to DVD. It has "rush job" written all over it. No effort was made to present the movie in a decent fashion. It's appalling that a DVD looking like this makes its way onto the market today.

Wolf (1994) * * ¾

Will Randall (Jack Nicholson) is a mild-mannered, middle-aged man who is a senior book editor for a publishing company. Driving home one night from a business trip in Vermont, he hits an animal on the road. When he gets out of his car to check on the condition of the animal, he discovers it to be a wolf, which bites him under a full moon. Randall is demoted from his job as managing editor of a publishing house when the company is taken over by wealthy business tycoon Raymond Alden (Christopher Plummer). Alden replaces him with Randall's own ambitious protege Stewart Swinton (James Spader), who also happens to be having an affair with Randall's wife Charlotte (Kate Nelligan).

Randall: I did it the old fashioned way.
Charlotte: What do you mean?
Randall: I begged.
Charlotte: I never loved Stewart. It was a mistake Will. I'm going to talk to him. Stewart, never for one moment, mentioned he loved me.
Randall: You think that makes it better? To betray me over and over again with a man that meant nothing to you? To know you betrayed me for nothing.
Charlotte: Don't be a smug...
Randall: Don't touch me! And keep away.

Randall begins undergoing a physical metamorphosis. He no longer needs reading glasses, his hearing is extremely acute, and he has a very keen sense of smell. He can smell tequila on the breath of a coworker from 20 feet away and hear conversations from across the lobby. Soon he starts feeling rejuvenated, revitalized, more aggressive, and becomes more assertive in fighting for his job back. Eventually, Randall also realizes that he is taking on the characteristics of a wolf. He is supported by his loyal secretary Mary (Eileen Atkins) and underling Roy (David Hyde Pierce), and gets his job back. Swinton is informed, in no uncertain terms, who is top dog. Randall also discovers that Charlotte has betrayed his love and devotion, causing him to leave her. It is a betrayal that is to have dire consequences for her.

Randall: I've been offered a choice between no job and a job no one would want.
Mary: Is the worm turning, Mr. Randall?
Randall: The worm has turned and it is now packing an Uzi, Mary.
Mary: It's about f**king time, sir.

Roy: How many investors do we have?
Randall: I don't know. Haven't called any yet.
Roy: But you want me to say it anyway?
Randall: Yes.
Roy: Second thing: Is any of this true?
Randall: Not yet.
Roy: You are my God.

Randall: You are such a polished ass kisser that it takes my breath away.
Swinton: I kiss 'em like I see 'em. (Randall urinates on his shoes) What are you crazy?
Randall: No! I'm just marking my territory, and you got in the way.

In the process of regaining his life, Randall falls in love with the boss's beautiful, headstrong daughter Laura (Michelle Pfeiffer), and she with him. The transformation of Randall into a werewolf is subtle, and there is very little use of special effects to enhance his metamorphosis. He conveys to the viewer what he is undergoing with a flick of the eyebrow, a twitch of the nose, and a curl of the lips. However, he also finds that he has the urge to hunt and kill at nighttime, and becomes terrified of the monster he carries inside. His first escapade as a wolf takes place at Laura's countryside cottage, where he wakes up in the middle of the night and hunts down a deer. In the morning he finds himself on the bank of a forest stream, dunks his head in water and realizes he has blood all over his face and hands. He then drives back to the city in a state of confused trepidation, his alarm at his animal characteristics leading him to ignore conventional medical tests.

Randall: What do you do?
Laura: Why do you care?
Randall: I don't. I was just making polite conversation.
Laura: I'd rather not discuss what I do.
Randall: You know, I think I understand what you're like now. You're very beautiful and you think men are only interested in you because you're beautiful, but you want them to be interested in you because you're you. The problem is, aside from all that beauty, you're not very interesting. You're rude, you're hostile, you're sullen, you're withdrawn. I know you want someone to look past all that at the real person underneath but the only reason anyone would bother to look past all that is because you're beautiful. Ironic, isn't it? In an odd way you're your own problem.
Laura: Sorry. Wrong line. I am not taken aback by your keen insight and suddenly challenged by you.
Randall: I've never loved anybody this way. Never looked at a woman and thought, if civilization fails, if the world ends, I'll still understand what God meant.

He visits an Indian healer, Dr. Vijay Alezias (Om Puri), who gives him an amulet intended to protect him from turning completely into a wolf. Alezias asks Randall to bite him as a return favor, as Alezias himself does not have long to live. On being asked by Randall whether he would "prefer demonization to death", Dr. Alezias replies that it would be a boon rather than a bane. He tells Randall that he is a good man at heart and so has nothing to fear. Dr. Vijay Alezias also explains that sometimes one does not even need to be bitten to change. Sometimes the mere passion of the wolf inside of them can transform them.

Dr. Alezias: The demon wolf is not evil, unless the man he has bitten is evil. And it feels good to be a wolf, doesn't it?
Randall: Indeed it does.
Dr. Alezias: Power without guilt. Love without doubt.

As his professional life is restored, Randall fires his young nemesis Stewart, deepening each others hatred for the other. Later, Randall inadvertently bites Stewart, who becomes a werewolf as well. Stewart ends up murdering Charlotte, in an attempt to frame Randall and seize back Randall's job at the publishing house.

Randall is shattered by his wife's murder, and thinking that it might have been his alter-ego state that killed her, goes back with Laura to her cottage, where he agrees to be locked up in the barn. Laura then gets a call from the police detective Bridger (Richard Jenkins) investigating Charlotte's murder, and learns that it was a canine attack that killed her. Alarmed that Randall might be the unknowing perpetrator, she goes alone to the police station to find out more. There she runs into Stewart, who makes an animal-like pass at her, revealing himself to also be a werewolf. Laura hurries off from the station, making arrangements for Randall and her to leave the country.

Swinton: Good evening Miss Alden. May I call you Laura? Laura, if you scream, I'll kill you. I'll just... break your neck, okay? If you find me so attractive, how about me f**king you to death right now darling, how would that be?
Laura Alden: I don't know I'll have to try it.
Swinton: I'm not a fool, Laura.
Laura Alden: I know that.

Swinton realizes that she has gone back, and follows her to the cottage and kills her two guards. After a brief struggle in the barn, where Randall is locked in, he tries to rape her. But Randall frees himself from his stall, and they battle as werewolves. Evil Swinton is then shot to death by Laura. Randall, meanwhile, turns into a complete wolf and runs off into the forest. Laura shows signs of a wolf's heightened senses when the police arrive, telling the lead detective that she can smell the Vodka on his breath. The last scene is a close-up of her face fading into dark, lupine eyes, preceded with previously-shown shots of an animal running wildly through the forest. It's a peculiar but great finale with a twist.

Jack Nicholson becomes a werewolf in this bizarre comedy-horror film directed by Mike Nichols. This is a contemporary thinking person's werewolf movie. If you are a horror film fan who likes excessive gore, as well as high-tech special effects, this is not the film for you, as there is very little of that in WOLF. This is a subtle, multi-layered, symbolic horror film that will leave you analyzing what you see. The opening sequences are beautifully filmed, and the moon and snow look gorgeous. It's an intelligent, literate story about a mid-life crisis and an interesting updating of the werewolf nonsense.

Film critics generally like it, but many viewers seem to find it dull and uninteresting, with elements of several genres thrown together in a big mess. It's a little dull in places, and probably could have been edited down by at least fifteen minutes. WOLF is much more intelligent than other werewolf movies, and does have a few interesting ideas and metaphors that haven't been done before. This thriller doesn't have any transformation scenes. When the hero turns into a humanoid wolf, he suddenly has muttonchop sideburns and his hair is messed up.

The cast also includes: Eileen Atkins (Mary), Ron Rifkin (Doctor), Prunella Scales (Maude), Brian Markinson (Detective Wade), Peter Gerety (George), Bradford English (Keyes), Stewart J. Zully (Gary), Thomas F. Duffy (Tom), Tom Oppenheim (Butler), Shirin Devrim (Party Guest), Allison Janney (Party Guest), Kirby Mitchell (Party Guest), Madhur Jaffrey (Party Guest), William Hill (Party Guest), Cynthia O'Neal (Party Guest), Timothy Thomas (Party Guest), Lisa Emery (Party Guest), Leigh Carlson (Party Guest), Alice Liu (Party Guest), Max Weitzenhoffer (Party Guest), Irene Forrest (Office Worker), Jennifer Nicholson (Office Worker), Jack Nisbet (Office Worker), Dale Kasman (Office Worker), Jeffrey Allen O'Den (Office Worker), Jose Soto (Gang Member), Van Bailey (Gang Member), Dwayne McClary (Gang Member), Elizabeth Massie (Alden's Secretary), Joanna Sanchez (Receptionist), Eva Rodriguez (Maid), Lia Chang (Desk Clerk), Starletta DuPois (Victim's Mother), Oz Perkins (Cop), David Schwimmer (Cop), Christopher Birt (Cop), Kaity Tong (TV Newscaster), Dorinda Katz (Shopper), Rawleigh Moreland (Party Guest / Publisher), and Michael Raynor. The original music was composed by Ennio Morricone. Jim Harrison and Wesley Strick wrote the screenplay. Mike Nichols directed.

The casting is inspired, the storyline is intelligent, and the pace alternates appropriately between day and night. What ultimately cripples WOLF is that the script seems to dry up as it goes along. There is a scene with the expert about half way through the movie that is filled with potential plot developments. Unfortunately, the internal logic soon begins to break down. Many of the possibilities suggested earlier never emerge and new random elements appear as the plot begins to spiral out of control, ending in a series of confrontations that are unsubtle, unsatisfying and weak.

Sophisticated to a point, this well-executed werewolf tale works due to its clever setting and enormous star power. Director Mike Nicholson keeps the action alive in the first half but the film peters out at the end with cheap theatrics and the overuse of slow motion. Michelle Pfeiffer has little to do as simply the love interest with a grittier than average personality. Better is James Spader as a smarmy colleague. Nicholson is in fine form, relying on his acting skills to spark interest instead of using make-up. Giuseppe Rotunno's sweeping camerawork sets the mood quite well.

Music for the movie was by Ennia Marricane. Editing was done by Sam O'Steen with distribution and production by Columbia Pictures. Filming locations were the Bradbury Building in Los Angeles, the General William J. Fox Airfield in Lancaster, California, New York City, New York, Long Island, New York, Sony Picture Studios, Vanderbilt Mansion in Hyde Park, New York and Roxbury, Vermont. Columbia Pictures Industries, Inc. holds the copyright to the movie.

WOLF was released to US theaters on June 17th, 1994, with a run time of 2 hours and 5 minutes. The movie's gross at the box office was $65,002,597 domestically and $131,002,597 worldwide, while making another $34,000,000 on US rentals. The budget was $70,000,000. WOLF was initially delayed for six to eight months due to poor critical reaction to the third act. After re-shoots, however, critics thought the ending was more satisfying and thrilling.

The movie was released in South Korea on July 23rd, 1994, Argentina on August 4th 1994, the UK on August 26th, 1994, the Netherlands on September 1st, 1994, Finland on September 2nd, 1994, France on September 14th, 1994, the Phillipines on September 14th, 1994, Germany on September 15th, 1994, Australia on September 22nd, 1994, Spain on September 30th, 1994 and Sweden on September 30th, 1994. It also premiered on TV in Indonesia on January 15th, 2005.

Pee-wee's Big Adventure (1985) * * ¾

(first lines)
Pee-wee: Look out, Mister Potato Head!

Pee-wee Herman (Paul Reubens), a childish geek, loves his super-deluxe red bike more than anything else in the world and refuses to sell it to Francis Buxton (Mark Holton), a neighborhood rich kid. Francis pays someone to steal Pee-wee's bike while Pee-wee visits Chuck's Bikeorama and his girlfriend Dottie (Elizabeth Daily), resulting in a relentless campaign to find it. In a search for answers, Pee-wee visits fake psychic Madam Ruby (Erica Yohn) who lies and tells him that the bike is hidden in the basement of the Alamo. Pee-Wee embarks on a quest to find his stolen bicycle, and comes into contact with characters even crazier than he is. He hitches a ride with a man named Mickey (Judd Omen), a fugitive on the run from the law because he cut off a "do not remove under the penalty of law" mattress tag. Mickey abandons him after Pee-wee nearly kills the two of them by accident.

Mr. Buxton: Pee-wee, Pee-wee what is going on here.
Pee-wee: He's a thief, he stole my bike.
Francis: You liar. I swear I didn't do it, dad
Mr. Buxton: Pee-wee, this is a wild accusation. Do you have any proof?
Pee-wee: Well, not exactly.
Mr. Buxton: Pee-wee, the Buxtons are not thieves. We've been preparing Francis's birthday plans all day.

Pee-wee: Exhibit "Q". A scale-model of the entire mall. X marks the scene of the crime. These arrows here show the exact position of the sun at the hour of the crime. Jupiter was aligned with Pluto! The moon was in the seventh...
Chuck: Pee-wee!
Pee-wee: Please save your questions until I'm through, Chuck!
Chuck: Well, when will that be? A long time, we wait! We've been here for over 3 hours now, and I'm not sure if any of us can see what all this is supposed to mean.
Pee-wee: Supposed to mean? Supposed to mean!?

Madame Ruby: For twenty dollars I can tell you a lot of things. For thirty dollars I can tell you more. And for fifty dollars I can tell you everything.
Pee-wee: Tell me why I'm here first.
Madame Ruby: You're here because you... want something!

Pee-wee is picked up by Large Marge (Alice Nunn), learning at a truck stop diner that Large Marge was actually a ghost. Pee-wee meets Simone (Diane Salinger), a friendly waitress who wants to move to Paris. Her huge boyfriend Andy (Jon Harris) thinks Pee-wee and Simone are romantically linked, chasing Pee-wee and causing him to flee in a boxcar of a moving train. Making it to San Antonio he finds that the Alamo has no basement. Realizing his whole trip was a sham, he goes to the bus station to return home. Along the way he runs afoul of the "Satan's Helpers" biker gang after accidentally knocking over their motorcycles. Fearing they are going to kill him, Pee-wee asks for one last request and dances to "Tequila", winning the respect of the bikers. The bikers give him a motorcycle, but Pee-wee quickly crashes it, ending up in the hospital. There, he learns from a TV program that his bike now belongs to Kevin Morton (Jason Hervey), a child star who is currently filming a movie with the bike as a prominent prop.

Simone: Do you have any dreams?
Pee-wee: Yeah, I'm all alone. I'm rolling a big doughnut and this snake wearing a vest...
Simone: Ah! Pee-Wee! Ha ha! C'est magnifique! Voici Pierre.
Pierre: Bonsoir.
Pee-wee: Ditto. Here, brought you guys French Fries! Ha ha ha!
Simone and Pierre: Merci beaucoup, Pee-Wee!
Pee-wee: Merci-bleh-bleh!

Biker: Did anybody tell you that this is the private club of the Satan's Helpers?
Pee-wee: Nobody hipped me to that, dude.
Biker: It's off-limits!

Pee-wee sneaks into Warner Brothers Studios in Burbank, California and locates the set on which Kevin is acting. Pee-wee disguises himself as a nun in order to infiltrate the set and reclaim his bike. In a wild chase scene, he flees from the Warner Bros. security staff through a variety of sets. Various actors and props, including a boat-shaped car, a Santa Claus sleigh, and a man in a Godzilla costume, get swept into the chase. He also interrupts the shooting of a Twisted Sister music video for "Burn in Hell" from "Stay Hungry". Using the gadgets on his bike, Pee-wee manages to evade the guards and escape the studio. As he blissfully rides away, however, Pee-wee discovers a pet shop in flames. After heroically saving all the animals, even the scary snakes, Pee-wee faints on the store's doorstep just as the fire department and police arrive. Though the firemen consider Pee-wee a hero, the police place Pee-wee under arrest.

Kevin Morton: Well, is everything straightened out?
Jerry: We are ready whenever you are.
Kevin Morton: Doesn't it look like I'm ready? I am always ready! I have been ready since first call! I am ready! Roll!
Jerry: Quiet, please! This is a take. Roll, please.
Cameraman: Speed!
Kevin Morton: Action!
Jerry: Action!

Pee-wee is brought before a Warner Bros. studio executive who offers to buy the rights to Pee-wee's story in exchange for dropping all charges. Pee-wee agrees and attends the premiere at his local drive-in. All of the friends Pee-wee made during his trip come to see the film, and Pee-wee greets each of them. He ends with Dottie, having finally fulfilled her demands for a date at the drive-in. As a final act of vengeance, Pee-wee allows Francis to sit on his bike, who triggers the ejector seat and goes flying. Pee-wee's movie turns out to be a James Bond-style action film involving James Brolin and Morgan Fairchild fighting ninjas. Pee-wee has a cameo appearance as a bell-boy, but his dialogue is dubbed over with a funny deep voice. After watching for a few minutes, Pee-wee decides to leave, having already lived the real story, saying "I don't need to see it, Dottie. I lived it." Reunited with his bike, he happily rides away with Dottie.

The success of the live stage show THE PEE-WEE HERMAN SHOW in 1980 prompted Warner Brothers to hire Paul Reubens to write a script for a full-length Pee-wee Herman film. With imaginative sets and dream sequences that use claymation and pixilated models, PEE-WEE'S BIG ADVENTURE is a side-splitting comedy that references almost every Hollywood genre, especially the perennial favorite Road Movies. Former animator Tim Burton made his feature directorial debut with this delightful comedy, co-scripted by Phil Hartman, who also appears briefly as a reporter. They keep the story simple to concentrate on the characters. Pee-wee's most prized possession, his shiny new bicycle, is stolen, and he sets off on an obsessive cross-country journey, determined to recover it. Pee-wee's awkward and childish attempts to be cool and mature are hysterical, as when he tells his girlfriend Simone: "There's things about me you don't know, Dottie. Things you wouldn't understand. Things you couldn't understand. Things you shouldn't understand.... I'm a loner, Dottie. A rebel." Reubens is on-screen for the majority of the film, and he never fails to entertain. As Pee-wee, he can take the most innocuous lines and make them hilarious.

Pee-wee is never interested in women or the men who admire him. He loves only his bike. The bicycle functions, in fact, as the love interest of the narrative. An object of extraordinary beauty, attended by falling cherry blossoms and ethereal music, the bike is supremely desirable. Filming locations included Glendale, California, Pomona, Santa Monica, Burbank, Cabazon, and the Alamo Mission in San Antonio, Texas. Burton and Reubens had tensions with Warner Bros. studio executives over the shooting schedule, and Burton hired CalArts classmate Rick Heinrichs for scenes involving stop-motion animation. To compose the film score, Burton brought in Danny Elfman, who had not composed a film before. Elfman already had the main title theme written before he signed on, and is now a top movie composer in Hollywood.

The cast also includes: Irving Hellman (Mr. Crowtray), Monte Landis (Mario), Damon Martin (Chip), David Glasser (BMX Kid), Gregory Brown (BMX Kid), Mark Everett (BMX Kid), Daryl Keith Roach (Chuck), Bill Cable (Policeman 1), Peter Looney (Policeman 2), Starletta DuPois (Sgt. Hunter), Professor Toru Tanaka (Butler), Ed Herlihy (Mr. Buxton), Ralph Seymour (Francis' Accomplice), Lou Cutell (Amazing Larry), Raymond Martino (Gang Member), Bill W. Richmond (Highway Patrolman), Ed Griffith (Trucker), Simmy Bow (Man in Diner), Jon Harris (Andy), Carmen Filpi (Hobo Jack), Jan Hooks (Tina), John Moody (Bus Clerk), john O'Neill (Cowboy 1), Alex Sharp (Cowboy 2), Chester Grimes (Biker 1), luis Contreras (Biker 2), Lonnie Parkinson (Biker 3), Howard Hirdler (Biker 4), Cassandra Peterson (Biker Mama), Bob McClurg (Studio Guard), John Paragon (Movie Lot Actor), Susan Barnes (Movie Lot Actress), Zachary Hoffman (Director), Lynne Marie Stewart (Mother Superior), George Sasaki (Japanese Director), Richard Brose (Tarzan), Drew Seward (Kid 1), Brett Fellman (Kid 2), Bob Drew (Fireman), John Gilgreen (Policeman at Pet Shop), Noreen Hennessey (Reporter), Phil Hartman (Reporter), Michael Varhol (Photographer), David Rothenberg (Hobo), Patrick Cranshaw (Hobo), Sunshine Parker (Hobo), Gilles Savard (Pierre), James Brolin (Himself - as PeeWee), Morgan Fairchild (Herself - as Dottie), Tony Bill (Terry Hawthorne), Dee Snider (Himself), Milton Berle (Himself), Terry Bolo (Biker Chick), Tim Burton (Thug in alley), and Cleve Hall (Godzilla, Biker Gang Member). Danny Elfman composed the original music. Phil Hartman, Paul Reubens, and Michael Varhol wrote the screenplay. Tim Burton directed.

Music Track listing:

1. "Overture / The Big Race (03:07)
2. "Breakfast Machine (02:36)
3. "Park Ride (01:14)
4. "Stolen Bike (01:44)
5. "Hitchhike (00:56)
6. "Dinosaur Dream (00:48)
7. "Simone's Theme (01:35)
8. "Clown Dream (01:58)
9. "Studio Chase (01:24)
10. "The Drive-In (02:02)
11. "Finale (03:12)

Also in the film are "Burn in Hell" by Twisted Sister and "Tequila" by The Champs.

PEE-WEE'S BIG ADVENTURE opened on August 9, 1985 in the United States in 829 theaters, accumulating $4,545,847 over its opening weekend. The film went on to gross $40,940,662 domestically, recouping five times of its $7 million budget, making it a financial success. The film was nominated for a Young Artist Award for Best Family Motion Picture (Comedy or Musical). The success of this movie prompted CBS to to sign Reubens to act, produce, and direct his own live-action Saturday morning children's program, PEE-WEE'S PLAYHOUSE in 1986.

At the time of its release in 1985, the film received mixed reviews. Gene Siskel called it one of the worst films of 1985, but PEE-WEE'S BIG ADVENTURE developed into a cult film. Christopher Null gave positive feedback, calling it "Burton's strangest film." Variety compared Paul Reubens to Charlie Chaplin and Buster Keaton, while Empire called the film "a one-comic masterpiece" and "a dazzling debut" for Burton. Stephanie Zacharek of Salon wrote, "Everything about PEE-WEE'S BIG ADVENTURE, from its toy-box colors to its superb, hyper-animated Danny Elfman score to the butch-waxed hairdo and wooden-puppet walk of its star and mastermind is pure pleasure."

Warner Home Video released PEE-WEE'S BIG ADVENTURE on DVD in May 2000. Special features include audio commentary with Paul Reubens, Danny Elfman, and Tim Burton, premiere party footage, the original theatrical trailer, deleted scenes, and a compilation of story boards and sketches with a third commentary by the production designer. In the deleted scenes you'll learn the origin of "Amazing Larry", meet Boone the Bear, and see Pee-wee fling the boomerang bow tie he bought at the magic shop. The anamorphic widescreen picture is perfect, and it appears in its original theatrical aspect ratio of approximately 1.85:1 on this single-sided, dual-layered DVD. The image has been enhanced for 16X9 televisions. This is the first time the movie has appeared in its original aspect ratio. Previous releases were full-frame and actually offered more information on the top and bottom. Sharpness is consistently good, with only some moderate softness that appears during a few wider shots. The print used for the transfer looks fairly clean, with some occasional speckling but no grain or more significant flaws such as scratches or hairs. This film features a lot of bold primary colors, and the DVD does a decent but unspectacular job of rendering these. Hues seem fairly accurate but slightly bland.