White Dog Page #2

Synopsis: Deprogramming a dog who kills Blacks is the ultimate challenge for an unorthodox African-American trainer. When a young Hollywood actress finds the injured stray, she nurses it back to health, not knowing it's a "White Dog" trained by a racist to attack only Blacks. Julie's appalled when the otherwise gentle, white German Shepherd breaks out, then returns from his nighttime foray dotted with human blood. Julie desperately races from trainer to trainer, advised to kill her pet, until the top Hollywood canine expert refers her to his former protégé, Keys.
 
IMDB:
7.1
Rotten Tomatoes:
92%
PG
Year:
1982
90 min
309 Views


"My dog"?

Well, why not? Maybe if I write

about him, they'll let me direct it.

And star both of us.

Then I could work.

You working tomorrow?

Yeah. Molly and I play stewardesses

sightseeing in a gondola.

- Oh, good. You got any lines?

- Two, and they're very boring.

Very boring.

Look, if we're supposed to be celebrating

return of the lone wolf, why are you so down?

Is it 'cause you didn't get the role?

Darlin', she is not the first girl...

to have a role locked in

right from the start.

But I could have done something

with that part.

I know.

- They didn't even look at my test.

- What was it, 20 seconds?

Fifteen.

What can you do in 15 seconds, huh?

Nothing.

- What's in the middle of a bagel?

- Nothing.

Then why are we wasting

our time and good wine...

talking about nothing, huh?

I don't know.

Could we maybe put him outside?

Why?

All right. I'll put him outside.

Come back here. Come here.

Get off the couch.

Come on. You're makin' a mess.

Come on. Get off! Come on.

Watch the feet!

- I'm never gonna play the violin again.

- What are you doin'?

Oh, that must hurt.

You're in the picture. Back it off.

- You look beautiful.

- Step out of the way, okay?

You're all set now

on what you're supposed to do, huh?

Okay. Terrific.

The boat's gonna rock a little bit,

so don't let that throw you, okay?

Yeah. Don't go overboard.

I want it on the record, Herb.

I'm shooting this under protest.

It's out of sync.

I'm getting nothing but flicker.

In France they call that "artistic."

As Truffaut would say, "formidable."

Stand by for picture!

Give me a bell!

Isn't that pretty?

- They're so pretty.

- Isn't that Lord Byron's house?

I think so. I love his poetry.

- It's beautiful.

- Oh, look! Look at that one.

This is great.

Oh, look over there.

It's so pretty.

All right. The dog isn't rabid.

But any time in the last 10 days,

Molly could have pressed charges.

Now, she didn't, but you're not

gonna be that lucky the next time.

What do you mean, "next time"?

There will be a next time!

You've got yourself an attack dog!

Oh, hi. Can I call you right back?

- I don't know what you're talking about, Roland.

- Come on, Julie.

A dog trained by professionals

to attack people.

You have got to have him killed.

Will you stop talking about killing him?

Listen to me. Molly wasn't his first victim.

Now, she certainly isn't gonna be his last.

Please, darling, just take him down

to the pound right now.

- It will be over in seconds.

- Do you know how they kill those dogs?

I was there! I saw it!

Now, wait a second!

You don't compare him to those animals!

They are innocent!

Now, that dog has got to be stopped

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Samuel Fuller

Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film director known for low-budget, understated genre movies with controversial themes, often made outside the conventional studio system. Fuller wrote his first screenplay for Hats Off in 1936, and made his directorial debut with the Western I Shot Jesse James (1949). He would continue to direct several other Westerns and war thrillers throughout the 1950s. Fuller shifted from Westerns and war thrillers in the 1960s with his low-budget thriller Shock Corridor in 1963, followed by the neo-noir The Naked Kiss (1964). He was inactive in filmmaking for most of the 1970s, before writing and directing the war epic The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson. more…

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Submitted on August 05, 2018

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