![]() Teague, hand-picked by King after the novelist was impressed with the director's tongue-in-cheek shocker Alligator, describes Cujo as his most accomplished film, and he's dead-on in recognizing something just clicked with the project: his instincts were spot-on, and his decision to engage Neil Travis ( The Edge) as editor ensured the dog attacks would become truly nail-biting experiences, and pay off with one shock guaranteed to make audiences jump. ![]() Whereas some may have preferred King's original finale – which the film seems to steer towards until it switches to an audience-pleasing finale – jettisoning the supernatural gimmick grounds the film, and makes the threat more realistic and terrifying: with the massive dog shown in worse stages of drool, puss, rage, and rhino-like determination, it's a classic battle between two domesticated forces reverting to their feral, self-protective origins – a predatory dog, and a mother doing anything to save her son when it's clear no phone, no cop, no husband will save them. The first wave, which included Carrie, Salem's Lot, and The Shining were high-profile works adapted and directed by a disparate group of iconic filmmakers, whereas the second wave felt more like an oppressive flood most of them were from veteran producer Dino De Laurentiis, and lost among cash-in titles like Children of the Corn, Firestarter, and Silver Bullet was Cujo – a neo-realist shocker about a mother and son tormented by a rabid Saint Bernard.Īs detailed in the excellent three-part making-of featurettes and Lewis Teague's own director's commentary track, King himself took the first crack at adapting the novel, and while his decision to alter the book's downbeat ending was retained in the finished film, the succeeding writers went back to the book and streamlined the story, with the supernatural element affecting the dog completely removed from the shooting script. Dolby English Pseudo-Stereo 2.0, Dolby English MonoĪudio commentary track by director Lewis Teague / 3-part making-of featurette: “Dog Days” / O-Sleeveĭuring the six years between 19, five works by Stephen King were adapted into film or TV productions during the two years between 19, nine more popped up on the big screen and idiot box, signaling what became a long flood of King-derived productions primarily aimed at making money, with quality becoming increasingly rare among the crop, though some did settle around the B-movie mark.
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