Animal attacks are not uncommon things in the contemporary world. Humans can sometimes cross paths with a wild animal at the wrong time and place. Of course not all animals are intentionally setting out to harm individuals, but there are those moments where they had it coming. Whether it was due to their lack of awareness or just plain ignorance, certain animals should not be domesticated because it's just shouldn't be done. As explored in Steven Spielberg's ocean thriller Jaws (1975), the shark had proven to be a formidable force that should only be observed from far distances. It made a lot of people think twice about going back into the water. Smartly capitalizing on the fad and everyone's deepest fears, a producer by the name of Edward L. Montoro made this independent film focusing on a dangerous land animal. The animal of choice for this feature was the grizzly bear. So now instead of scaring the living life out of beach goers, Montoro wanted to make people fear their own backyard. Well done Mr. Montoro.
|"Why am I in a Jaws (1975) knock-off?!"|
Although the film has its own credited screenwriters, the parallels between this movie and Jaws (1975) are all too familiar. Written by Harvey Flaxman and David Sheldon, the script has few differences in its story. Michael Kelly (Christopher George) is a ranger at the local park and the season for backpackers and hikers has just kicked in. To his dismay a couple of campers were mauled by a grizzly bear and now he's on the hunt with helicopter pilot Don Stober (Andrew Prine) and nature boy Arthur Scott (Richard Jaeckel). Breathing down Kelly's neck is park owner Charley Kittridge (Joe Dorsey), who wants the bear gotten rid of. See the similarities in how the events reflect what goes on in Jaws (1975)? The noticeable changes are that it deals with a bear instead of a shark and it's on land and not at sea. There are even scenes where after the campers are attacked, a posse of hunters go out to kill the bear themselves. Even Kittridge becomes greedy and becomes okay with having the publicity.
The minor changes within the story though deal with Christopher George's character. Unlike the main character of Jaws (1975), Mike Kelly is a single man who hasn't found the right woman in his life yet. Co-starring in this film is another actor by the name of Joan McCall playing Allison Corwin. She initially comes across like she could turn into Kelly's love interest but then goes nowhere. From the start Corwin explained to Kelly that she was trying to finish a project she was working on, but two thirds of the way through she completely vanishes from sight never to be heard from again. Something's a miss here. And McCall's character isn't the only one with an unfinished thread. There are a few others, and doesn't resolve much in the story. It's unbecoming that so much of the screenplay resembles another movie only to not completely take what they've learned and apply it correctly. Why bother introducing a character that adds nothing to anything?
The only true actors to come out unscathed is Christopher George and "Teddy" the bear actor. Although much of his other co-stars have been in several films like him, George is the only actor to try and make his role his own. Christopher George is probably best known for playing a role in the so-bad-it's-so-good film Pieces (1982). This feature would be his next best. The rest of the acting by Andrew Prine and Richard Jaeckel act passably but do not stand out from any other cast member. Andrew Prine would take a minor roll Ronald F. Maxwell's epic of Gettysburg (1993) and Richard Jaeckel would also play a minor role in the science fiction drama Starman (1984). For animal actors, "Teddy" the portrayed grizzly bear killer was quite a looker. In all honesty, the thought of having a real bear on scene was not thought to be likely. Apparently they did have a real bear on set though, and he is something to watch. There are some pretty serious injuries that are filmed too but the actual mauling isn't too believable.
|"Teddy" the bear actor|
The camerawork that goes with film is mostly doable. The only time it's too unconvincing is when the camera represents the animal attacks. The lens just moves too much to figure out everything. Other than that, the wide panning shots by William L. Asman are visually pleasing. The forest is a big place and the landscape is vast in its scope. The camera is also used as the eyes of the grizzly which has it pushing through brush so as to look like the viewer is the bear. That looks fairly accurate. Although Asman has done cinematography, his main credit is as a camera operator to films like The Rocketeer (1991) and Speed (1994). The music by Robert O. Ragland is also a supportive element to the film. It's by no means anywhere close to as recognizable as John Williams' music, but it has its moments. Sadly there's no main theme, which could've helped the movie greatly. Ragland also made the score to both The Fear (1995) and The Fear: Resurrection (1999). Hmmmmm okay.
Points Earned --> 6:10