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

Trailer