Back in my college days – many, many, many moons ago – I was once advised by a college professor that it was unfair of me to put the same expectations on foreign releases that I had for domestic films.
I know, I know, I know. Calm down. I can hear all of you shouting from the rooftops. In fairness to the man, I think all he was honestly trying to convey was that I – as an American – have my own set of filters I use to evaluate art; and the foreign film production of the day couldn’t quite hold a candle to how much the U.S. had invested in the studio system. Furthermore, the things I cared about as a citizen might not exactly mirror those of my international neighbors; they’d grown up with an entirely different set of happenings, and I shouldn’t force my values, perspectives, and mores onto what they put out into the marketplace of ideas. Certainly, it goes without saying that not everything is universal; and, yet, at the end of the day every storyteller still has to produce a story that informs and entertains an audience, so I do try to stick to those rather narrow parameters when I believe they apply.
Besides, why shouldn’t a foreign monster movie work on the same intellectual level that should one of ours? Don’t they share some common structures? Aren’t they assembled with the same goal – of scaring folks silly – in mind? Something as noble yet forgettable as Crocodile (1979) ain’t rocket science, and no one is ever going to convince me otherwise. As for crafting compelling characters that both fit well within and demonstrably understand the narrative composition, there may be some negligible differences; and that’s perfectly fine. But if it doesn’t scare – if it doesn’t terrorize – then what good is any of it whether it was made here, there, or anywhere?
Though the film occasionally has bite, it still feels all wet in all the wrong ways.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A giant crocodile is killing and frightening people living nearby rivers. Two men, whose wives and daughter have been killed by the crocodile, decide to chase and eliminate it.”
I know, I know, I know. Calm down. I can hear all of you shouting from the rooftops. In fairness to the man, I think all he was honestly trying to convey was that I – as an American – have my own set of filters I use to evaluate art; and the foreign film production of the day couldn’t quite hold a candle to how much the U.S. had invested in the studio system. Furthermore, the things I cared about as a citizen might not exactly mirror those of my international neighbors; they’d grown up with an entirely different set of happenings, and I shouldn’t force my values, perspectives, and mores onto what they put out into the marketplace of ideas. Certainly, it goes without saying that not everything is universal; and, yet, at the end of the day every storyteller still has to produce a story that informs and entertains an audience, so I do try to stick to those rather narrow parameters when I believe they apply.
Besides, why shouldn’t a foreign monster movie work on the same intellectual level that should one of ours? Don’t they share some common structures? Aren’t they assembled with the same goal – of scaring folks silly – in mind? Something as noble yet forgettable as Crocodile (1979) ain’t rocket science, and no one is ever going to convince me otherwise. As for crafting compelling characters that both fit well within and demonstrably understand the narrative composition, there may be some negligible differences; and that’s perfectly fine. But if it doesn’t scare – if it doesn’t terrorize – then what good is any of it whether it was made here, there, or anywhere?
Though the film occasionally has bite, it still feels all wet in all the wrong ways.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A giant crocodile is killing and frightening people living nearby rivers. Two men, whose wives and daughter have been killed by the crocodile, decide to chase and eliminate it.”
As a self-professed fan of monster movies, I do tend to look the other way a little bit when it comes to listing flaw after flaw after flaw of any feature; but that’s hard to do with a prospect like Crocodile. First released on June 28, 1979, in West Germany, the story isn’t exactly one we haven’t seen before, and the wider Thailand film industry being what it was it arguably lacks any identifiable emotional core that could’ve propped it up in so many of its quieter moments. While the truth could very well be that director Sompote Sands wanted nothing more to create an Eastern cinematic equivalent to what Steven Spielberg so capably did in 1975 when Jaws rocked silver screens around the globe, I’d argue that Sands should’ve done far more to distance himself and his project than he did. The last reel, in particular, matches up with the superior effort almost beat-for-beat; that could’ve been a good thing … if the previous one hour hadn’t felt so deliriously flat.
Dr. Tony Akom (played by Nard Poowanai) finally manages to squeeze in time from his frantic schedule at the hospital in order to take his family and friends on a fun-filled vacation. But when tragedy strikes – his wife and daughter vanish in the ocean, though a few pieces show up not long after – and the man can no longer commit to the business of saving lives. Instead, he convinces his friend Dr. John Stromm (Min Oo) – whose wife also perished in the presumed crocodile attack – that only they have the smarts to hunt down and destroy the beast below the waterline. A local fisherman, Tanaka (Kirk Warren), offers his services; and the team sets out … for adventure!
Sigh.
Essentially, what one gets with a story like Crocodile is a traditional monster movie. What elevates it just a bit is that the script does dabble – albeit briefly – with suggestions of where this mighty critter may’ve come from. While suggestions are that a release of atomic power possibly spurred on by a raging hurricane in the film’s set-up gets blamed; and suddenly the flick feels – again, albeit briefly – like Sands wanted to say something about mankind’s boldest use of science might have produced some unintended consequences. None of this really matters, however, as the script then settles into scenes vacillating between Akom’s attempts to ‘understand’ the creature and the croc’s increased path of destruction on villagers aplenty. Instead of being smarter, this one truly takes the low road.
Now, there’s nothing wrong with that.
What I do have issues with are some – ahem – undercooked creature effects and – double ahem – some poorly utilized miniature sequences. One would think that – since the tale revolves around an already large monster that’s apparently growing in size – everyone involved would have agreed in advance to exactly what size ol’ Toothy (my nickname for it) was in each and every scene. That doesn’t appear to be the case here as it’s sometimes smaller than it was in the preceding attack although larger in the next before going back to damn near conventional size and shape. I can overlook some minor blemishes – mostly because I do love practical effects – but the lack of continuity here was laughable far more than it should’ve been.
Plenty of other frights have taken the path most travelled and performed admirably – or ‘admirably enough’ to be engaging. Crocodile’s problems mount, though, largely because it’s all captured and delivered with an increasingly predictable blandness; it isn’t until the big showdown that any true stakes are raised so far as I noticed and/or cared. Akom and Stromm pursue vengeance more because that’s the way the story was written than they do from any heart wrenchingly delivering breakdown. They’re men … and that’s what men do. Presumably. But following too closely to the prescription as written by Dr. Spielberg (snicker snicker) just isn’t enough to save this entire affair in the conclusion. Technically, everything in here works, but it does so without building the level of audience commitment and tension that superior pictures – and superior directors – require.
On its own merits, this Crocodile barely stays afloat.
Dr. Tony Akom (played by Nard Poowanai) finally manages to squeeze in time from his frantic schedule at the hospital in order to take his family and friends on a fun-filled vacation. But when tragedy strikes – his wife and daughter vanish in the ocean, though a few pieces show up not long after – and the man can no longer commit to the business of saving lives. Instead, he convinces his friend Dr. John Stromm (Min Oo) – whose wife also perished in the presumed crocodile attack – that only they have the smarts to hunt down and destroy the beast below the waterline. A local fisherman, Tanaka (Kirk Warren), offers his services; and the team sets out … for adventure!
Sigh.
Essentially, what one gets with a story like Crocodile is a traditional monster movie. What elevates it just a bit is that the script does dabble – albeit briefly – with suggestions of where this mighty critter may’ve come from. While suggestions are that a release of atomic power possibly spurred on by a raging hurricane in the film’s set-up gets blamed; and suddenly the flick feels – again, albeit briefly – like Sands wanted to say something about mankind’s boldest use of science might have produced some unintended consequences. None of this really matters, however, as the script then settles into scenes vacillating between Akom’s attempts to ‘understand’ the creature and the croc’s increased path of destruction on villagers aplenty. Instead of being smarter, this one truly takes the low road.
Now, there’s nothing wrong with that.
What I do have issues with are some – ahem – undercooked creature effects and – double ahem – some poorly utilized miniature sequences. One would think that – since the tale revolves around an already large monster that’s apparently growing in size – everyone involved would have agreed in advance to exactly what size ol’ Toothy (my nickname for it) was in each and every scene. That doesn’t appear to be the case here as it’s sometimes smaller than it was in the preceding attack although larger in the next before going back to damn near conventional size and shape. I can overlook some minor blemishes – mostly because I do love practical effects – but the lack of continuity here was laughable far more than it should’ve been.
Plenty of other frights have taken the path most travelled and performed admirably – or ‘admirably enough’ to be engaging. Crocodile’s problems mount, though, largely because it’s all captured and delivered with an increasingly predictable blandness; it isn’t until the big showdown that any true stakes are raised so far as I noticed and/or cared. Akom and Stromm pursue vengeance more because that’s the way the story was written than they do from any heart wrenchingly delivering breakdown. They’re men … and that’s what men do. Presumably. But following too closely to the prescription as written by Dr. Spielberg (snicker snicker) just isn’t enough to save this entire affair in the conclusion. Technically, everything in here works, but it does so without building the level of audience commitment and tension that superior pictures – and superior directors – require.
On its own merits, this Crocodile barely stays afloat.
Crocodile (1979) was produced by Chaiyo Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Synapse Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be largely very good: there’s a great deal of grain in some sequences, but the bulk of the project is made up of fairly uninspired cinematography except for some better shots in the final reel. Lastly, if you’re looking for special features? Well, for posterity’s sake, I’m doing the reliable copy-and-paste from the company’s press release previously published on Blu-ray.com:
Special Features and Technical Specs:
Speaking frankly, I’d strongly encourage those who like thoughtful, insightful, and even educational audio commentaries to check out the one provided here by Mr. Gambin. I may not always agree with his assessment of eco-Horror as it applies especially to this film, but he still serves up something that’s fabulous and far more stimulating than the accompanying theatrical experience. Sometimes, truth hurts.
Alas … only Mildly Recommended.
While I’ll stop short of decrying Crocodile (1979) a total waste, it did truly test my patience in a great many ways. The central problem with it is that it hosts far too much bloat for what essentially boils down to be little more than an obvious attempt to clone Spielberg’s Jaws (1975) as a kinda/sorta slightly different monster movie. That alone might be reason enough to sit through it, but everyone should be forewarned that – unlike what Spielberg accomplished – these characters just don’t lift off the screen and feel real or interesting at any time except for when they’re in obvious jeopardy. Without the association and resulting sympathy, they’re little more than pawns in service of a screenwriter and director … much like the puppety oversized crocodile and the corresponding miniatures. Ouch.
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary Blu-ray of Crocodile (1979) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Special Features and Technical Specs:
- 2K RESTORATION OF THE FILM FROM THE ORIGINAL CAMERA NEGATIVE
- Original theatrical trailer
- Audio commentary with writer and film historian Lee Gambin
- Video interview with original Crocodile Fangs director, Won-se Lee
- Deleted and alternate scenes
- Optional English SDH subtitles for the main feature
- REGION-FREE
Speaking frankly, I’d strongly encourage those who like thoughtful, insightful, and even educational audio commentaries to check out the one provided here by Mr. Gambin. I may not always agree with his assessment of eco-Horror as it applies especially to this film, but he still serves up something that’s fabulous and far more stimulating than the accompanying theatrical experience. Sometimes, truth hurts.
Alas … only Mildly Recommended.
While I’ll stop short of decrying Crocodile (1979) a total waste, it did truly test my patience in a great many ways. The central problem with it is that it hosts far too much bloat for what essentially boils down to be little more than an obvious attempt to clone Spielberg’s Jaws (1975) as a kinda/sorta slightly different monster movie. That alone might be reason enough to sit through it, but everyone should be forewarned that – unlike what Spielberg accomplished – these characters just don’t lift off the screen and feel real or interesting at any time except for when they’re in obvious jeopardy. Without the association and resulting sympathy, they’re little more than pawns in service of a screenwriter and director … much like the puppety oversized crocodile and the corresponding miniatures. Ouch.
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary Blu-ray of Crocodile (1979) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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