Review | The Call of the Wild film review: Harrison Ford in live action/CGI retelling of Jack London classic
- Harrison Ford plays his most moving role for years as the craggy faced loner and narrator of this dog’s tale
- The computer graphics make for stunning shots of Yukon scenery, although the animals aren’t quite convincing
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3/5 stars
Jack London’s evergreen 1903 novella has been a story filmmakers have returned to numerous times, with Clark Gable, Charlton Heston and Rutger Hauer among the actors drawn to The Call of the Wild.
The story of Buck, a domesticated dog that finds his inner beast in the 1890s Gold Rush era is now a souped-up live-action/CG combo, courtesy of Lilo & Stitch director Chris Sanders. Terry Notary, best known for his work in the recent Planet of the Apes reboots, remarkably plays Buck, via motion capture.
Buck, a beautiful big St Bernard crossbreed, lives with a kindly judge (Bradley Whitford), but his happy life changes after he’s dognapped. Sold, he’s beaten, starved and forced to become a sled dog.
Briefly owned by Omar Sy and Cara Gee, who operate a mail hauling business across the hostile wintry landscapes, Buck is forced to assert dominance over the other dogs, but his benevolent temperament sees him look after others.
In a story that explores civilisation vs nature, the humanity comes from Harrison Ford, who plays John Thornton, a grizzled loner grief-stricken over the death of his son.
Narrating the tale, Thornton also encounters Buck more than once, the story eventually seeing man and dog come together to “see what’s out there” as they journey into uncharted territory.
The gruff Ford is perfectly suited to the role; with his bushy beard and craggy face, he hasn’t been this moving in a film in years.
From a technical standpoint, Sanders’ film is a marvel, even if the digital animals (bears, rabbits, wolves) don’t quite look real enough at every moment. Using CG to partially conjure the landscapes is even more stunning as it plunges you right in the heart of the Yukon.
As for Notary’s performance as Buck, it’s every bit as convincing as his simian work on the Apes movies. It’s enough to make you howl at the moon.
There are issues, however. Dan Stevens is far too caricatured as a dandyish prospector who turns out to be the main villain, seemingly having it in for Buck and old Thornton. An almost unrecognisable Karen Gillan also turns up in a forgettable role.
But there’s a lot of humour and warmth to the film, not least when Buck, disapproving of Thornton’s drinking, hides his bottle and sits on it. A few gripes aside, Sanders manages to bring this classic story to a new generation.
