The latest cinematic adaptation of Jack London’s 1903 novel, The Call Of The Wind, feels like one of those modest, live-action Disney adventure films you’d see from the 50s and 60s, which makes this bitterly funny since this is the first 20th Century Fox film to be released under the new moniker, 20th Century Studios, after its Disney acquisition. Written by Michael Green, and directed by Chris Sanders, the film follows the life of Buck, a mischievous dog that we first see in his lavish Santa Clara home before he is stolen, and sent far up north where he becomes a sled dog. And through his adventures, he becomes more and more drawn to his animal instincts, pulling him further away from the world of man.
Ever since the trailer premiered, the biggest topic of conversation around the film has largely been revolving around Buck, who is presented entirely in CGI. While even as someone who is as supportive of practical effects whenever possible as I am, it is understandable given all the dangerous situations in the film that its main character would be mostly CG. Though, I think Disney’s own Togo shows how you can blend both real and CG in very effective ways. But I am pleased to report that the rendering of Buck is actually very good. The lighting is pitch perfect, the detail in the fur and the eyes is stellar, and there are moments where I fully bought him as a presence on screen, alongside all the live action elements.
The problem, however, is that while the effects are convincing the implementation behind it is not quite there. Sanders, who has up until this point only directed animated films – Lilo & Stitch, How To Train Your Dragon, and The Croods – has made the decision to have the expressiveness and physicality of Buck be animated through the logic of an animated character as if it were an animated movie. The emotions are overt, the movements are broad and bumbling, and there is a level of awareness to Buck that is simply not present in any of the other CG animals in the film, who are all moving and rendered like real animals. It makes Buck stick out in a way that isn’t flattering to the overall picture.
Although, if you are willing to get past the strange way Buck is presented on screen, what you’ll find is a fairly charming and reasonably engaging adventure. Some of the choices made here aren’t the most inspired. There is a narration from Harrison Ford that immediately brought me back to his notoriously bored voice over in the theatrical cut of Blade Runner. Some of the plot elements feel a bit rushed, as Buck goes from one owner to another, with certain contextual details quickly brushed aside. Yet, the film remains entertaining, even if the core story begs for a take that is a more artful than what we ultimately got here.
It helps that the cast brings everything they can to the material given to them. Bradley Whitford shows up very briefly early on as Buck’s initial owner, and his mannerisms imply a greater history with the dog with very little exposition. Omar Sy and Cara Gee play a couple who haul mail with their sled dogs. They’re a likable duo, and it’s easy to form an emotional connection. But at the end of the day, it’s Harrison Ford as John Thornton, who really shines here. Ford could play a role like this in his sleep – and in some cases, he arguably has – but he really comes to play here. He has a fun dynamic with Buck, and by extension stuntman Terry Notary who acted as Buck on set, and he grounds the film with a sense of emotional richness that brings a lot of resonance, especially as it reaches the final stretch.
Having not read the book, I can only imagine there’s only so much you can do with a story this old without coming across as outdated and derivative of stories that have been inspired by the original source. Though, taking a quick look at the novel’s Wiki page, there are some…let’s just say “wise changes” made to the plot. I’ve made it clear before dog movies are a huge soft spot for me, and this didn’t effect me any differently. Despite its faults and missteps and missed opportunities, I was still charmed and endeared by The Call Of The Wild. It’s slow, meandering, old fashioned storytelling sensibilities worked for me, even if it isn’t hard to imagine why it wouldn’t for most. Plus, the thought of Harrison Ford bonding with a motion-capture-suit-wearing-and-walking-on-all-fours Terry Notary just brings me endless delight.