INTERVIEW WITH ACTOR WESLEY EURE

Today I have the immense pleasure of welcoming a very special guest, actor Wesley Eure, to CINEMATIC REVELATIONS for an interview. Wesley has acted in several movies such as JENNIFER, THE TOOLBOX MURDERS, C.H.O.M.P.S. [my review of the movie can be found here] GEOGRAPHY CLUB, THE LAST PAGE OF SUMMER, and SINS OF OUR YOUTH. Wesley has also assisted many charities and organizations over the years with his time, with the Variety Club among these. In this interview Wesley will be discussing his part in C.H.O.M.P.S, acting, cinema versus television, being involved in charity work, his creative pursuits in television, and receiving a Golden Palm Star dedication on the California Walk of Stars.

Welcome to CINEMATIC REVELATIONS Wesley!

Athan: When did you first realize that you wanted to be an actor?

Wesley: I first realized I wanted to be an actor when I was in elementary school in Hattiesburg, Mississippi, and I played an oak tree in a school play. And I knew from that moment on, I needed the attention. My dad had left when I was two, and I think I was just craving somebody to notice me. But I come from a family of educators down the deep south, and when I announced, standing on a coffee table at around six or seven that I wanted to be an actor, my family looked at me like I was an alien from another planet.

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Athan: Where did you study acting?

Wesley: I never really did study acting. My first job, in which I went on an open call in New York City when I was 19, was for the American Shakespeare Festival at Stratford, Connecticut. And lo and behold, I got the job, and I didn't realize that it was the number one acting school company in the United States at the time. It was run by the heads of the Julliard School of Music. Michael Kahn was directing that year. I got to understudy Ariel in the Tempest and I said to him, ‘Michael, why did you hire me?’ and he said, ‘Wesley, you came into the audition. You blew your audition at Shakespeare.’ I did two sonnets. And he said, ‘but you made us laugh so hard. We said, you know what? We have to spend this summer with that guy.’

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Athan: Your performance in C.H.O.M.P.S, as Brian Foster, the enterprising, charismatic inventor of the robotic dog, was excellent. What it is that drew you to the part of Brian in C.H.O.M.P.S.?

Wesley: When I was presented with the script for C.H.O.M.P.S., I was so excited. First of all, the cast was unbelievable. And I actually knew Valerie Bertinelli at the time, and I was so excited to be her boyfriend because I had a huge crush on Valerie. Also, it was Hanna Barbera’s first live action movie. And the honor of being a part of that journey was just too hard to pass up, but I had to get permission from Days of our Lives to take off for those few weeks. And fortunately, they let me out of my obligations.

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Athan: C.H.O.M.P.S. had a fine cast with yourself, Valerie Bertinelli, and Conrad Bain in leading roles, and Hermoine Baddeley, Jim Backus, Chuck McCann, and Red Buttons in supporting parts. What was it like working with these performers?

Wesley: Well, like I said before, I mean the cast was amazing. Hermoine Baddeley, you're right, Jim Backus. These were icons, I mean, Red Buttons for goodness sakes, and to watch Red Buttons and Chuck McCann act as the two sort of buffoons was a masterclass in comedy. To me, there's nothing more exciting than being on the set of a movie, especially a movie with a great budget. Every day was just miraculous. 

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Athan: What did you find most exciting about filming C.H.O.M.P.S?

Wesley: And again, I couldn't believe that this little kid from Hattiesburg, Mississippi, was working with these icons in the industry. It truly was an honor. One of my greatest joys is, like I said, was working with Valerie Bertinelli, and I was the lucky fellow who got to give Valerie her first big screen kiss. And yes, I beat Eddie Van Halen.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of making C.H.O.M.P.S?

Wesley: The most demanding part was working with the dogs because we had a dog trainer on the set, and we had two dogs that looked alike. One played the robot dog, and one played the real dog. So when I was doing one love scene or very quiet scene with Valerie, the two dogs were there. One was supposed to be the real pup, and the other was the robot. So that one dog had to stand still. So they're yelling, ‘stay, stay, stay, stay, act.’ And they were screaming and it was a very quiet scene. And so they were screaming ‘stay, stay, stay, act, act, act.’ And then I had to be very quiet and talk to Valerie. It was fun. And Valerie and I laughed a lot after it was over. 

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Athan: Have you kept in contact with any cast members and crew from C.H.O.M.P.S?

Wesley: Unfortunately, most of the cast has passed away, but I did see Valerie Bertinelli a few years ago. She was doing a play in the Palm Springs, California area, and I live in Palm Springs now, and I stopped by and gave her a big hug and a kiss.

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Athan: C.H.O.M.P.S was directed by Don Chaffey, who presided over many other motion pictures such as THE PRINCE AND THE PAUPER, JASON AND THE ARGONAUTS, ONE MILLION YEARS B.C., RIDE A WILD PONY, and THE MAGIC OF LASSIE, to name but a few. What was the experience of being directed by Mr Chaffey in C.H.O.M.P.S?

Wesley: It was an honor to work with Don Chaffey. His credits were amazing. And again, I felt like a fish out of water. Here I was with this enormously talented cast and very, very famous actors. I just kept looking around and going, ‘how the hell did I get here?’

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Athan: You had a long-running role as Mike Horton, member of the core Horton medical family in classic daytime serial Days of our Lives from the mid-1970s, until the early 1980s. In comparing both mediums, what was the main striking difference for you between film, and television?

Wesley: On Days of our Lives, I'd get a script in the evening, memorize it, and come in and block the scene and then film. I was out of the studio by late afternoon, and we did a whole hour show. Of course, working on a film you can count on maybe doing one or two pages a day, so there's a lot of sitting around and doing nothing. It is much easier to do a television show because it's quick, it's fast, you're finished, and you're home. Movies take a long time because there's so much set up with lighting and sound. And of course, being on location, like I've said before, I've had a very blessed life, and I don't take it for granted one moment.

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Athan: Philanthropy is something close to your heart, and you have been involved in many charities and groups over the years such as Project Angel Food, Variety Club, Special Olympics, and March of Dimes, and the LalaPOOLooza HIV/AIDS fundraising charity. What is it that you love most about helping others, and assisting valuable causes in this way?

Wesley: I've been very lucky in my life, and the contacts and the resources and the fun that I've had, so to give back to the community is very important to me. I started producing fundraisers and raising money for lots and lots of charities, especially HIV Aids and Shelter from the Storm for battered women and Breast Cancer. And it was the most profound joy that I think I've ever had to be able to share my life, my contacts, and my ability to raise money with these amazing organizations.

In fact, we raised so much money the first year I did LalaPOOLooza, that a portion of that money helped create an organization called Desert Women for Equality. About five months later, I got a call from the organization saying that they had just saved two women's lives. They had provided free mobile mammograms for these two women who would not have otherwise been able to afford it. And they discovered breast cancer in its early stages, and they were able to remove the cancer and these women were gonna survive. Needless to say, it spurred me on to continue raising money.

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Athan: You were dedicated a Golden Palm Star on the Palm Springs, California Walk of Stars in 2007. How did it feel to be honored in this manner?

Wesley: I was truly honored when the city presented a star on the Walk of Fame for me in Palm Springs. It was an amazing day, and Kaye Ballard showed up. We had about 300 people sitting on the street, and I arrived in the back of a convertible with two blow-up dinosaurs, and two guys dressed like Sleestack, which were the green lizards from my TV series, Land of the Lost. And the theme song of Land of the Lost was blaring in this convertible down the main street in Palm Springs, which is the song that I sang in the series.

It was, again, an unbelievable day. And I looked around the crowd and my mom was there and my sister was there, but my mom at the party at the end of the star ceremony pulled me aside and said, ‘Wesley, I didn't know people loved you this much.’ I started to laugh.

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Athan: Writing is another passion for you, and you have penned novels for children, and several humor books. In addition to this, you have also contributed as a producer, actor, and screenwriter in television show Totally Hidden Video, and co-created the children’s animated series Dragon Tales. What is it about the creative process that you find so fulfilling?

Wesley: I love telling stories. My first novel, the Red Wings of Christmas, which told the story of a little orphan boy in Dickensian England, washed overboard in the ship, and what happens in his journey one night when he falls into Father Christmas's Toy Sack, was optioned by Disney for an animated feature. I also wrote the screenplay and songs for Disney. Unfortunately, at the moment, it's sitting on the shelf at Disney, but writing shows and creating from the imagination Is one of the hardest things to do, but also one of the most rewarding. As most people know, being a writer is a very lonely occupation, but to watch a show like Dragon Tails, which ran on PBS for nine seasons, was so thrilling. One year I was watching the Macy's Day Thanksgiving parade, I think it was the 75th anniversary. Suddenly flying high above New York was a balloon of one of the characters from Dragon Tails, Cassie, the Pink Dragon.

I didn't know she was gonna be there, and that moment was extraordinary. In fact, a fan just found a snow globe from that Macy's Day parade at a thrift store. In the Snow Globe, one of the balloons is Cassie, and he sent it to me as the present. It's moments like that, that there are really no words to express the magic and gratitude.

In the last few years, I've been doing a lot of the comic cons, the autograph shows around the world with my cohorts from Land of the Lost, Kathy Coleman, who played Holly and Phillip Payley, who played Cha-ka the Monkey Creature. And we meet hundreds and hundreds of people. We sing the theme song, and I actually bring a blow-up yellow raft with light jackets and oars, because in the opening credits of Land of the Lost, we go over a waterfall in a yellow raft. So we put this yellow raft on the floor and fans get in with us and we dress 'em up, and we all scream going over water over the waterfall. It's really extraordinary. We love doing these comic cons around the world. In fact, I would love to come to Australia and do a Supernova. That would be a dream for me.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Wesley: Recently, I had a documentary called ParaSense: The Naked Experiments air on Netflix in a whole bunch of different streaming services. It's a documentary that combines a ghost hunter, and a scientist creating new technologies to see if you can prove touch. It's been winning a lot of awards, in fact, it just got accepted in Lisbon at their major film festival.

So, we're hopefully all going to Lisbon to watch it. But the journey continues and each day I wake up, and wonder what can we create today that would bring joy? I know I sound kind of Pollyannish, but I truly live in gratitude. I also live in Mexico half the year, six months out of the year, in Puerto Vallarta, and fly back and forth, and do conventions, work, and shows. And then the other six months I'm here in Palm Springs.

Athan, thank you so much for having me as a guest, and thank you so very much for your kind words in your review of C.H.O.M.P.S. I really appreciate it, and it means the world to me. Thank you.

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You’re very welcome Wesley. Thank you so much today for your time today, and for the insight you have shone onto the art of acting, C.H.O.M.P.S, cinema, television, writing, creating, and charities. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Wesley Eure links

+Wesley Eure official homepage

+Wesley Eure IMDb Actor Page

+C.H.O.M.P.S. movie IMDb page

DIRTY MARY CRAZY LARRY (1974)

Title: DIRTY MARY CRAZY LARRY

Year of Release: 1974

Director: John Hough

Genre: Action, Drama, Road Movie

Synopsis: Two car racers steal money from a supermarket in order to buy a car, with one of the men's one night stand accompanying them on their journey.

Within a film history context: Carsploitation movies, being narratives where characters spend the majority of their time in an automobile, with chases, and car crashes part and parcel of this genre, have been present in cinema since the late 1950s. One of the first to deal with this was Arthur Ripley's THUNDER ROAD (1958). A man dealing in the moonshine trade is pursued both by gangsters, and the police, with many scenes of dirty dealings in automobiles, with car chases and crashes also taking place. In ROADRACERS (1959), directed by Arthur Swedloff, matters were different. Centering upon the sport of motor racing, it followed the relationship of a son and his father, who loses faith in his offspring with the death of another race driver, feeling his son caused this, and backing his son's rival. Leigh Jason's THE CHOPPERS (1961), was about young people who steal cars, and remove car parts to sell to junkyard proprietors, with the police on their trail. Again, there are many sequences set in cars, or automobiles as a backdrop for intrigues in this crime movie. Car racing was on show once more, but with some extras, in THE YOUNG RACERS (1963), directed by Roger Corman. The relationship between two men, one a current, the other a former racing car driver, is the focus here, and their interactions with the opposite sex one of the issues where they are at loggerheads. William Asher's FIREBALL 500 (1966), mixed stock car racing action and romance in this tale of both professional, and personal racer rivalries between two young men, with some intrigue thrown in for good measure. 

With HOT RODS TO HELL (1966), directed by John Brahm, transplants from Boston purchase a desert hotel in California. A man and his family clash with hot rodders who seek to terrorize them after he berates them, but unexpected matters come to the fore in this action film. More fantastical in nature was Richard C. Sarafian's VANISHING POINT (1971). A man who aims to deliver a car in a short amount of time from one state to another has a number of experiences along the way, albeit being intoxicated on drugs. TWO-LANE BLACKTOP (1971), directed by Monte Hellman, featured two men in a drag racer making their way across the country, and becoming involved with some colorful characters in the process during their trip. Another take on racing car drivers was served by Robert Stringer's THE DAREDEVIL (1972). A professional racing car driver becomes embroiled in drug smuggling, to the detriment of his life, with plenty of car racing and crash scenes, and Robert Montgomery in the lead. Crime again was the crux of WHITE LIGHTNING (1973), directed by Joseph Sargent. A criminal is in jail for bootlegging liquor, and goes undercover to smash a moonshine gang, but has no intention of assisting authorities to bring the gang to justice, in light of his brother's death at the hands of a corrupt sheriff. DIRTY MARY CRAZY LARRY was one of the best carsploitation movies, for a number of reasons. 

As with several of the films in this category, such as THUNDER ROAD, THE CHOPPERS, THE DAREDEVIL, and WHITE LIGHTNING, the characters in DIRTY MARY CRAZY LARRY were involved in crime or criminal activity. In these movies, the characters at times associated with some highly unscrupulous underground figures. DIRTY MARY CRAZY LARRY differed in this arena as the two male protagonists were in the crime spree for themselves, organizing hits, without answering to anyone. This gave them an independence of sorts that the characters in the other movies did not have. It was also in keeping with the road movie elements of the film, whereby characters seek no ties to anything or anyone, but prefer to live by the seat of their pants. In addition to this, their status as race car drivers makes the movie closest to THE DAREDEVIL, in terms of them being professional drivers who dabble in illegal activity. Other aspects of DIRTY MARY CRAZY LARRY are worthy of discussion.

Many of the examples followed race car drivers, such as ROADRACERS, FIREBALL 500, and THE YOUNG RACERS, but delved more into their personal lives than DIRTY MARY CRAZY LARRY. This was an area which took a decided back seat in DIRTY MARY CRAZY LARRY, where, instead, there was an emphasis on car racing, eluding the police, and car crashes. Another area where DIRTY MARY CRAZY LARRY diverted was in the treatment of its female character. The vast majority of the films above utilized a female character as the romantic other half of the male characters. They were largely not involved in the unlawful exploits of the male characters, but in a supporting vein. Mary in DIRTY MARY CRAZY LARRY had a previous relationship with Larry in the picture, but things had turned sour. While not actively instigating any crime in the film, Mary, nevertheless, is along for the ride with her two accomplices in evading the police, and effectively becomes one third of the trio by staying with them. This is at odds with the views of femininity from the other films, where women were demure, and decorative, than the much more forward, intrepid Mary. An effective carsploitation picture, DIRTY MARY CRAZY LARRY is a fun cinematic jaunt.

Overview: John Hough is a British director who has made sixteen motion pictures over thirty-one years in both his native Britain, and the United States. His movies are generally action-oriented, with many forays into horror. Mr Hough's first film, EYEWITNESS (1970), was a thriller about a young boy who witnesses a political assassination, and is systematically targeted by the killers. TWINS OF EVIL (1971), was his first move into horror. A tale of witchcraft and devilry set in the 1600s, it had a fine British cast including Peter Cushing, and Dennis Price. TREASURE ISLAND (1972), was the rollicking adventure of a young boy who becomes involved with pirates, and treasure, with Orson Welles, Lionel Stander, and Walter Slezak rounding out the players. John Hough then made another film set in a past time, being WOLFSHEAD: THE LEGEND OF ROBIN HOOD (1973). In this version of the classic story, a farmer becomes a wanted man when he allows a suspected poacher to pass through his property, placing his life in jeopardy. More horror was on the agenda with THE LEGEND OF HELL HOUSE (1973). The mystery surrounding the deaths of people in a haunted house in two separate time periods is investigated by four people, with spooky results. A complete sea change for John Hough was offered by ESCAPE TO WITCH MOUNTAIN (1975). Two children with extraordinary powers are pursued by a wealthy man for their psychic gifts, and ability to predict events in this Disney family movie. It was followed in 1978 by RETURN FROM WITCH MOUNTAIN, also helmed by John Hough, and continuing the story of the two talented young people with psychic powers. 

Into the 1980s more horror, albeit in a family vein, was present in THE WATCHER IN THE WOODS (1980). Two young girls who live in a new family home in England become affected by past events which occurred close to their house involving a missing young woman. A stronger horror film from John Hough was INCUBUS (1982). A small town is shaken to its core by several violent rapes and murders of young women which some parties try to solve, but find it difficult in light of mysterious, and labyrinthine events. TRIUMPHS OF A MAN CALLED HORSE (1983), was the second sequel to the original A MAN CALLED HORSE, which detailed the continuing trials and travails of Horse. This time around, the discovery of gold causes issues between the Sioux tribe, and other parties seeking to control the resource. BIGGLES (1986), was John Hough's next project. A science fiction film of time travel between the 1940s and 1980s of a World War I pilot, and a salesman, it was a critical, and commercial disappointment. Horror again pervaded AMERICAN GOTHIC (1987). When some friends land on an island, they encounter a hillbilly family, but these people have more to them than first meets the eye, specifically relating to mayhem and murder. John Hough's final film to date, BAD KARMA (2001), was yet another horror film for the director. When a psychiatric patient believes that her analyst is the reincarnation of Jack the Ripper, it spells trouble not only for her doctor but also, his wife and daughter. DIRTY MARY CRAZY LARRY was John Hough's sixth motion picture, and one of his best-known movies. 

John Hough has made an entertaining, well-constructed film with DIRTY MARY CRAZY LARRY. The story of two car racing buddies, their crimes, and misdemeanors, teaming up with the girlfriend of one of them, it is a movie which easily keeps the attention throughout its running time. While the picture, at heart, is an adventure caper, filled with breathless action sequences and car smashups, there is a method to its fast-paced and diverting narrative. The director has carefully plotted the entire movie, and this organizing structure has the effect of providing it with a strong dramatic backbone. All the pieces fall into place in a natural manner, seeming spontaneous and real. Aside from this, the director's control over his story is evident in other ways. In a movie about car racing and chases, it would be expected that DIRTY MARY CRAZY LARRY would have a high incidence of death and carnage. Thankfully, there is none of this in the film, as it would have been not only extraneous, but also, exploitative. This lifts the film many cuts above others in the genre, giving it a more thoughtful, and clean feel. DIRTY MARY CRAZY LARRY does have its strong suits, but there are some oversights which rob the picture of further greatness.

The plotting in the movie is well-orchestrated, and one of its fortes, but not having a more thorough insight into the three main protagonists' backstories does let it down. It is easy, as such, to follow how the characters do what they do, but the why is not fully clear. Fuzzy character motivations are a staple of many 1970s films, which consequently leave these open to interpretation by the viewer. In this case, though, having a deeper understanding of exactly what led these three people to a life of crime is never adequately explored. Another problematic issue with DIRTY MARY CRAZY LARRY is its ending. On the one hand, it makes sense, as the characters were obviously headed on a collision course to doom. It gives events a tragic tinge that was highly unexpected, and memorable. On the other hand, the characters did indulge in crime, but did not cause death to others. Having them perish does deprive the viewer of, for example, being apprehended by police, which would sprout other story possibilities. The ending is anticlimactic in this way, and as the characters were so watchable, seeing their fate does not add up. A slightly flawed but very compelling movie, DIRTY MARY CRAZY LARRY is one of John Hough's most enjoyable cinematic outings.

Acting: The acting in DIRTY MARY CRAZY LARRY is just one of its assets. In the lead role of Larry, one third of the central trio, Peter Fonda shows a different side to his acting skills. Several years on from the EASY RIDER movie, he makes Larry a more distinctive character in DIRTY MARY CRAZY LARRY, with a fun side which was not obvious in his other freewheeling picture. The flighty and uninhibited Mary Coombs is given careful shading by Susan George. An actress who is able to get the audience on her side with her sympathetic ways, she is a potent protagonist in this tale of two men and one woman on a rapacious thrill ride. The third cog in this cinematic wheel, Deke, is equally well-defined by Adam Roarke. An actor with a quietly menacing and thoughtful nature, his subtle expressions and mannerisms perfectly complement his two co-stars. As Evelyn Stanton, an innocent woman temporarily caught up in these illicit shenanigans, Lynn Borden is convincing in a small role as the supermarket manager's wife. Four other performers are also notable in DIRTY MARY CRAZY LARRY.

The supermarket manager himself, George Stanton, is made memorable by Roddy McDowall. With his large expressive eyes and soft, commanding voice. Mr McDowall provides one of the best cameos in the movie. Kenneth Tobey is formidable as the red-haired, by the book sheriff Carl Donahue. With his well-lined face, and scowl ready to attack his opponent at any moment, Mr Tobey is welcome each time he is onscreen. As Captain Everett Franklin, Vic Morrow is yet another unique actor in DIRTY MARY CRAZY LARRY. His raspy voice, and willingness to do whatever it takes to get what he wants, makes Everett a relatable figure. The last illustrious acting performance in the film is by Eugene Daniels as policeman Hank, who was hot on Larry, Mary and Deke's trail. An actor with little more than a handful of film appearances, with his utter determination and nous as Hank, ensures that the viewer roots for him to reach his goal, giving the movie an unexpected perspective which is logical.

Soundtrack: Another aspect which sets DIRTY MARY CRAZY LARRY apart is its lack of musical accompaniment to the visuals. This works to its advantage, as there are sufficient interesting events taking place onscreen, these not needing music to punctuate their exciting nature. The single use of music in the movie is the song 'Time (Is such a funny thing)', performed by Majorie McCoy, and written by Bobby Hart and Danny Janssen. This bittersweet, soulful tune is utilized in both the opening, and closing credits, a common practice in 1970s movies. This leads the viewer to compare their expectations of the movie in the beginning, and contrast with what they have learned as a result of the picture unravelling at its conclusion. 

Mise-en-scene: DIRTY MARY CRAZY LARRY offers a realistic, and thrilling experience for spectators. Photography by Michael Margulies is crisp and beautiful, making everything appear attractive, despite much of the film taking place in rough terrain. Christopher Holmes' editing is also excellent, lending the movie oomph and zest which adds to its power. Special effects by Greg Auer, and stunts performed by Al Wyatt are also of a high standard. Care has been taken so these appear genuine, particularly the final scene, which is a model on how to shoot this type of sequence without resorting to gore, and other unnecessary gimmicks. 

Notable Acting Performances: Peter Fonda, Susan George, Adam Roarke, Lynn Borden, Roddy McDowall, Kenneth Tobey, Vic Morrow, Eugene Daniels.

Suitability for young viewers: No. Brief female nudity, adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer

C.H.O.M.P.S. (1979)

Title: C.H.O.M.P.S.

Year of Release: 1979

Director: Don Chaffey

Genre: Comedy, Family

Synopsis: A young man employed by a security firm creates a robotic dog with extra-sensory powers, but the head of a rival company attempts to steal his invention. 

Within a film history context: Before the release of C.H.O.M.P.S. in 1979, there were only two movies which featured a robotic dog in their narratives. Woody Allen's science fiction comedy SLEEPER (1973), had a store owner who was preserved in cryopreservation revived, but who subsequently takes on a dictatorial government. THE HUMANOID (1979), directed by Aldo Lado and Enzo Castellari, centered upon a nefarious man who tries to control a planet through creating, by chemical substance, imperishable soldiers. He seeks to become head of the planet, and subsequently unseat his brother as its ruler. C.H.O.M.P.S. was the one movie up until its time which dealt specifically with a robotic dog in its story.

In comparison to the other two pictures, the robotic dog in C.H.O.M.P.S. was, essentially, the main component in the movie. In SLEEPER, the robotic dog took up a minute amount of screen time, appearing in a single scene. It had no real bearing on the narrative as such. In THE HUMANOID, the robotic dog was featured to a greater extent, taking up more screen time than in SLEEPER. THE HUMANOID's version of the dog served a positive purpose, assisting the good people in overthrowing the villains. The robotic dog in C.H.O.M.P.S., though, was the main attraction in the story, taking up much screen time in relation to the human characters. The making of the dog by its creator, seeing it in action, the consequences of its success, and those who try to steal its concept, were thoroughly explored in C.H.O.M.P.S. Other aspects of the film are interesting to note compared to other entries in the genre.

The dog in C.H.O.M.P.S., as with THE HUMANOID, was designed for good intentions, but THE HUMANOID's version was very much a robot in appearance. C.H.O.M.P.S.'s model was designed to look and sound like a real dog, but was mechanically very advanced. One never was exposed to the workings of the other robotic dogs in SLEEPER and THE HUMANOID, but their narratives were concerned with more otherworldly, science fiction matters. Despite C.H.O.M.P.S' high-tech leanings, it was a family movie with a positive and simple spin, unlike the more complicated scenarios of SLEEPER, and THE HUMANOID. C.H.O.M.P.S.' feet were firmly planted on planet earth, unlike THE HUMANOID's outer space story, and SLEEPER's view of a future world. An enjoyable and breezy look at the making and workings of a robotic dog, C.H.O.M.P.S. is a fun diversion.

Overview: Don Chaffey was a British director who first made films in Great Britain, then helming pictures in the United States. His output was generally family fare, but with forays into more adult material in over thirty works. Mr Chaffey's first movie, THE MYSTERIOUS POACHER (1950), centred around children who seek to help a ranger in catching the poacher of deer. TIME IS MY ENEMY (1954), was a suspense drama about a woman whose husband was reported as dead, returning to wreak havoc on her life with her new husband. Crime was the topic this time in THE GIRL IN THE PICTURE (1954). A photograph unlocks a chain of events, thereby bringing a case of murder to attention in this short film. In A QUESTION OF ADULTERY (1958), a couple's marriage is in jeopardy, and when the wife loses their child, she seeks the route of artificial insemination. Her pregnancy throws a spanner in the works, and whether or not she committed adultery with another man comes into question. DENTIST IN THE CHAIR (1960), was a move into comedy territory. Two students studying dentistry are drawn into the shady shenanigans of an unscrupulous man, whose aim is to sell them contraband dental equipment. GREYFRIARS BOBBY (1961), on the other hand, was a touching family picture of the relationship between a terrier and a shepherd, which continues after his master's passing. 

JASON AND THE ARGONAUTS (1963), was the fantastical telling of the mythological ancient Greek hero Jason, and his pursuit of the Golden Fleece. While a commercial failure in its time, it was critically well-received. It was then back to family movies with THE THREE LIVES OF THOMASINA (1963). The effect of a cat on the relationship between a veterinarian father, and his young daughter is explored in this fantasy picture.  Black comedy THEY ALL DIED LAUGHING (1964), had a twisted chain of events in its framework. A scientist concocts a gas for the sake of killing people, but not before they suffer delusions before death, his own fate may subsequently be in question here. 1966 brought one of Don Chaffey's best-known works to the cinema, being ONE MILLION YEARS B.C. This escapist tale of adventure, romance, and power struggles in a time far removed from now, was a box office bonanza of its time, and made Raquel Welch a star. Adventure was again on the menu for Don Chaffey with THE VIKING QUEEN (1967). This time around, a young woman seeks to share the reign of Britain as Queen with a Roman, but citizens revolt, causing consequent bloodshed. WITH THESE HANDS...(1971), was another move into more adult content for Don Chaffey. The skullduggery at a private clinic, particularly of the sexual kind, was the focus of this movie, the subterfuge practiced by its owner one of the main elements of this film. 

Western CHARLEY-ONE-EYE (1973), was another unusual project for its director. Set during the American Civil War, a black man and an American Indian have an uneasy relationship at first, but eventually warm to each other, a background of unrest and mayhem testing this union. Conversely, PERSECUTION (1974), was a psychological thriller of the hateful relationship of a woman and her son, and how the son snaps when she goes too far. Milder material was again on show in RIDE A WILD PONY (1975). A young boy and a disabled young girl are rivals for a pony. When his pony disappears, but sees one which belongs to her, he believes that his prize pet is now hers, and sets about getting it back. Likewise family material for Don Chaffey came in the form of THE FOURTH WISH (1976). The tragedy-tinged tale of a father doing his utmost to grant his terminally ill son his dying wishes had a fine cast, with John Meillon as the father, Michael Craig, Anne Haddy, and Norman Yemm in support. Mr Chaffey's penultimate film, THE MAGIC OF LASSIE (1978), was a continuation of the Lassie franchise, with the canine wrenched away from her family, but her return to them ladened with difficulties. C.H.O.MP.S. was Don Chaffey's final theatrical feature, but a sound effort.

In the case of C.H.O.M.P.S., Don Chaffey has made an entertaining movie. Taking a robotic dog as its center of attention, Mr Chaffey has succeeded in fashioning a fun, fast-moving narrative which would definitely appeal to a younger audience, but also, keep more mature viewers satisfied at the same time. While the picture is oriented towards humor, slapstick, a spot of romance, and easy solutions on the part of plot points and resolutions, this is not an entirely negative thing. C.H.O.M.P.S. is one of those movies that does not aspire to be high art, but seeks to please, and engage the viewer. The picture possesses a light touch, and likability, which holds it in great stead. It does not take itself too seriously, but on the other hand, does not send itself up mercilessly. Don Chaffey, and his cast and crew, all obviously believe in the material, and ensure that the product is believable to audiences, despite the escapist nature of the story. An enjoyable look at a robotic dog, C.H.O.M.P.S. delivers what it sets out to do, being to offer spectators a buoyant viewing experience.

Acting: C.H.O.M.P.S. has a great cast in solid form. In the lead role of Brian Foster, inventor of the robotic dog, Wesley Eure is perfect. A good-looking actor with a personable, thoughtful disposition, his presence imbues the movie with an authority, adding to its believability immeasurably, giving its high-tech trappings credence, and a human touch. The apple of Brian's eye, Casey Norton, is nicely portrayed by Valerie Bertinelli. As the daughter of security industry businessman Ralph Norton, she projects a nous and savvy beyond her years which is pleasing to witness, and is perfectly matched with Wesley Eure. Casey's father, Ralph, is given stature by Conrad Bain. An actor more prolific on television than in cinema, here makes his millionaire character not only fun but also, authoritative. The shady Ken Sharp, Ralph's right hand man, is well executed by Larry Bishop. With his cold-eyed stare and shifty scruples, Mr Bishop's Ken is a subtle villain with a bag of tricks to surprise. 

Four other actors do great work in C.H.O.M.P.S. As the scheming Mr Gibbs, Ralph Norton's competitor, Jim Backus turns in yet another entertaining screen portrayal. With his distinctive voice and manner on display here, Mr Backus is deliciously fun as the calculating businessman. In a small role as Brian's neighbor Mrs Flower, the witty Hermoine Baddeley steals her scenes in her inimitable wacky way, but whose role is too abbreviated. As the first of two bumbling thieves, the beefy Chuck McCann is madcap as Brooks, the accident-prone man diving into situations of which he ultimately has no control. The final performance of note was by Red Buttons as Bracken, Brooks' accomplice. With his serene air, and slightly melancholic demeanor, Mr Buttons is a nice foil to Chuck McCann's more overt comic displays. 

Soundtrack: Hoyt Curtin's score for C.H.O.M.P.S. is lively, giving the film added zing which serves it well, particularly in the many action scenes when the dog is pursuing criminals and the like.

Mise-en-scene: C.H.O.M.P.S. offers a fluent visual experience for viewers. The introductory credits sequence is animated, courtesy of cartoonist Joseph Barbera, clearly indicating to spectators the lighthearted nature of the movie. The segment is slightly overlong, but still enjoyable to watch nonetheless. Stunts and special effects are of a high standard, fitting in well with the movie, without seeming far-fetched, or ridiculous, in their execution. Editing by Dick Darling and Warner Leighton is on the ball, ensuring the movie is fast-paced and never drags.

Notable Acting Performances: Wesley Eure, Valerie Bertinelli, Conrad Bain, Larry Bishop, Jim Backus, Hermoine Baddeley, Chuck McCann, Red Buttons.

Suitability for young viewers: Yes.

Overall Grade: C

Link: IMDB Page

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