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It’s the year 2024, and most of the Earth’s nations have been demolished by yet another world war (the latest being WWIV) . In this postapocalyptic world, slow-witted survivor Vic (Don Johnson) forages through the ruins for food and women with the support of his faithful dog, Blood (voiced by Tim McIntire), with whom he is able to communicate telepathically. Blood, more knowing and more cultured than his young “master,” often gets impatient with Vic’s immature behavior and lack of interest in his attempts to educate the boy, but he nonetheless loves Vic and sticks with him to attend him survive. And after several minor adventures and one vast misadventure, Vic does learn one incontestable actuality: Nothing is more indispensable to a boy than his dog.
Based on an award-winning novella by the curmudgeonly SF writer Harlan Ellison, A BOY AND HIS DOG was adapted and directed by character actor L.Q. Jones and co-produced by Jones and Alvy Moore (the latter probably best known for his portrayal of scatterbrained Hank Kimball on TV’s GREEN ACRES) . While Ellison has said many times publicly that the film is the most faithful adaptation of any of his works, he has nonetheless complained vehemently about some of Jones’ “adjustments”–most notably the minor addition of some detestable or crude dialogue–and tried unsuccessfully to score them changed. Whether or not Ellison’s complaints have merit, A BOY AND HIS DOG has near to be regarded as a science-fiction classic, its popularity undoubtedly due to its likeable characters who, despite their constant bickering and individual quirks, are redeemed by their committed friendship and their sarcastically silly reach to survival.
The performances in A BOY AND HIS DOG are first-rate. Johnson convincingly portrays Vic as a filthy scavenger who, in spite of his dire site, peaceful manages to remain a decent human being at the core. Tim McIntire’s vocal characterization of Blood embodies Ellison’s current view of a mutant pooch with a caustic ego that is balanced with honest the good amount of off-beat humanity, and this portrayal is enhanced further by the outstanding on-screen performance of Tiger, the canine thespian that portrayed the family pet on TV’s THE BRADY BUNCH. In his supporting role as the governor of a subterranean dystopia, Jason Robards is delightfully smarmy. And when dazzling Susanne Benton bares her large “talents” on the veil, that’s a lot of fun view, too.
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With A BOY AND HIS DOG, Jones’ draw is not to beget deep socio-political innuendos or to meet the average action-fan’s prosaic expectations, and sentimentality is obviously far from his mind. Instead of serving up a wearisome postapocalyptic survival-of-the-fittest thriller or a cliché love-among-the-ruins drama, Jones gives us a wry gloomy comedy that doesn’t buy itself too seriously. His direction is tight, his staging often inventive, and the dialogue–while MOSTLY lifted directly from Ellison’s story–is often sharply sardonic and frequently witty. With this AND the outstanding performances he elicits from his cast, Jones creates a realistic world of future desolation, but he peoples it with central characters that learn to deal with the nightmare while unruffled maintaining their humanity…and a sense of humor.
Several DVD editions of A BOY AND HIS DOG have been available over the past few years, and all have delivered satisfactory letterbox widescreen digital transfers. The unusual offering from First Bustle Features is an anamorphic widescreen version, and it also contains an consuming feature commentary and theatrical trailers.
All in all, A BOY AND HIS DOG is a fabulous interpretation of a classic SF novella, and this DVD will invent a gargantuan entry in the film collections of SF fans who like quirky non-mainstream films.
A cult popular for years, this faithful version of Harlan Ellison’s classic novella enjoyed some mainstream popularity in the mid-’80s when its star, Don Johnson, hit the grand time with “Miami Vice.” In unique years the movie has settled encourage into cult area, which is for the best. Johnson (in an suitable performance) is Vic, a simple-minded survivalist who wanders what’s left of post-apocalypse America with his dog Blood (played by Tiger of “The Brady Bunch,” with advise by singer Tim McIntire), with whom he has a telepathic bond. Vic’s main ambition in life is to, well, gain female companionship; he demands that Blood sniff out girls for him. He meets a seemingly innocent young woman who leads him down to a queer subterranean civilization where all the men are sterile. Eventually, Vic is presented with a hard choice. The decision he makes has remained controversial; the one-liner that ends the film is even more so. (Ellison didn’t write the line and has expressed discomfort with it. I contemplate it’s one of the big final lines in movie history.) If you haven’t seen this film, chances are you’ve seen a dozen better-known SF movies it influenced (like the “Angry Max” series), and Kevin Costner’s “The Postman” was a windbag ’90s variation on the same theme. If you’ve only caught this on television, you haven’t really seen it.
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