Caffeinated Clint
Where did “Cujo” go right that other ‘killer animal’ movies went wrong? Easy. It split the film in two: the first half was a character drama, where we got to know the folks we’d have to root for later on, and the second half was a tense nail-biter that pitted the characters we now know against the killer mutt.
Dee Wallace, Daniel Hugh Kelly, Danny Pintauro, Ed Lauter. Christopher Stone
Where did “Cujo” go right that other ‘killer animal’ movies went wrong? Easy. It split the film in two: the first half was a character drama, where we got to know the folks we’d have to root for later on, and the second half was a tense nail-biter that pitted the characters we now know against the killer mutt.
So many films like this just get straight to the point – usually at the request of the studio who want to get to the action quicker – but by doing so, they’re robbing the audience of an experience. A greater experience than what they’d have if they’d simply be watching something gobbling up someone’s guts within the first ten minutes of a film. The best horror/thriller films are the ones that introduce the characters – even leisurely – and then proceed to knock them off. Scribe Stephen King (based on his book) and director Lewis Teague (hot off B-horror classic “Alligator” at the time) put themselves in the shoes of a prospective audience the day that they collaborated on “Cujo”.
The film fixes on a family in Maine – not necessarily a happy one, as we discover when the camera pans in on Mum sharing a bed with another man – whose lives are forever changed as a result of an unfortunate meeting with a killer dog (affected by rabies).
“Cujo” would have to be one of the most tense, and genuinely nail-biting films of its time. Because of the set-up, we now care about the characters, so when the bloodthirsty St.Bernard comes after our heroes, we start to feel their sweat too. Its also a rather claustrophobic movie – set in a car for a large part, and all – so there’s times when you feel like you’re chained to the bonnet looking in.
More so, “Cujo” has a message – as director Lewis Teague explains in his very honest and insightful audio commentary – it’s that we should try and stop giving into imaginary or could-happen-but-possibly-won’t fears, and only give into your fears when it’s needed: like when a rabid dog is pounding towards you.
Aside from Teague’s insightful commentary, there’s a very “meaty” (geddit?) documentary on the making of the movie. Running for about three-quarters-of-an-hour it chronicles the making of the film – translating book to film, the challenges of making the movie, and the actors’ singular experiences on the movie.
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Reviewer : Clint Morris
