******SCREAMER-SPOILERS!******

Based on one of a cycle of stories from the late Harlan Ellison, “A Boy and His Dog” was adapted into a low-budget indie film in 1975 by longtime Western-genre actor/director L.Q. Jones (“The Wild Bunch”), who was a surprisingly passionate advocate for adapting and directing this wildly offbeat dystopia story into a movie.

“A Boy and His Dog” first came onto my own radar not from the books (which I later glanced), but from the pages of the late great Starlog magazine (for sci-fi fans, Starlog was the internet before the internet). I finally saw the film sometime in my late teens in a butchered form on broadcast TV.  After buying the DVD some years ago, it began to grow on me. I also appreciated its influence in other films, such as George Miller’s dystopian “Mad Max” films, and the “Terminator” series (the first movie of which was famously sued by Harlan Ellison over alleged similarities to Ellison’s Outer Limits episode, “Soldier”).

This review screening was a bit of a refresher for me, since I hadn’t seen “A Boy and His Dog” for about 15 years, and had forgotten much of it. 

“A Boy and His Dog” (1975)

The 91-minute movie opens with an atomic explosion, as text cards tell us the year is 2024. The world has endured a brief World War III, followed by a devastating nuclear armageddon unleashed with World War IV.  The United States is now an endless desert, where survivors have to forage for whatever food they can in this desolate hellscape.  Cheers.

Note: Cinematographer John Arthur Morrill makes smart use of Barstow, California and Mojave desert, which stand in for the post-apocalypse United States. Practical, though hellishly hot for its cast and crew, no doubt.

We’re then introduced to the titular 18-year old boy, who’s named Vic (a pre-“Miami Vice” Don Johnson), and his titular dog, Blood (voiced by Tim McIntire).  Blood communicates telepathically with his pet human, and is by far the wiser of the two. Blood and Vic have entered into a symbiotic partnership; Blood uses his superior sense of smell and tracking to help Vic find women to rape (yes, rape), while Vic ensures that Blood gets fed.

Note: It must be understood that in this movie, there are no heroes or people to root for. We can only objectively observe the amoral characters who inhabit this version of 2024 without judgment. They live in a 2024 that has gone on to become a far worse dystopia than the one we’re currently staring into today with climate change, encroaching fascism, microplastics, what have you. One needs to view this dark satire and its characters objectively, no matter how offensive it might get.

Note: The original 1969 novella established that, in this alternate 2024, President Kennedy survived his assassination attempt. Kennedy’s survival led to an even worse escalation of the Cold War (shades of Ellison’s Edith Keeler), which in turn, led to genetic modification of animals for use by the military. This is how Blood came to be the smart telepathic creature we see in the film.  Blood’s voice actor Tim McIntire (1944-1986) is also co-credited with the movie’s soundtrack, along with Jaime Mendoza-Nava and keyboardist Ray Manzarek (of The Doors). Sadly, McIntire died of heart failure at age 41. The exceptionally well-trained dog who played Blood is also the same bearded collie who played “Tiger” on TV’s “The Brady Bunch” (1969-1974). 

After a day spent stealing whatever they can from groups of crazed desert bandits, as well as unseen mutants called “screamers,” Vic and Blood enjoy their spoils together in a makeshift tent village.  Vic reiterates his burning need to get laid. Blood reminds Vic that genetic modifications make him unable to hunt for himself; making them both dependent upon Vic’s pilfering and scavenging skills to keep them fed. The two argue quite a bit, with Blood often teasing Vic by calling him “Albert” (after famed canine novelist, Albert Payson Terhune, 1872-1942), which pushes Vic’s buttons.  Despite their occasional antagonism, the two are resigned to the fact that their survival depends on their mutual cooperation.

Note: The two have a relationship that plays like an R-rated version of the classic cartoon characters, Mr. Peabody and Sherman, which ran under the banner of “The Adventures of Rocky and Bullwinkle” (1959-1964); a witty and mildly subversive cartoon series which ushered in other iconic Saturday morning characters, such as bumbling Soviet spies “Natasha & Boris,” as well as the Tarzan parody “George of the Jungle.” Mr. Peabody & Sherman centered on a brilliant canine scientist (Mr. Peabody) who was joined on his time-traveling adventures by his none-too-bright boy companion named Sherman.

The following day, Blood smells a woman in an underground silo. Powered by his hormones, Vic sets off to find her, with Blood standing guard over the silo entrance.  Once at the scene, Vic finds the raped woman dead and horribly mutilated.  Rather than express sympathy for the dead woman before him, Vic only laments that her corpse was so badly cut up that he couldn’t have sex with it (once again, this movie is not for the easily offended).  Later that evening, Vic and Blood take in an outdoor movie night of vintage, soundless porno films; scratched and badly faded by age. As the movie starts, Blood complains about Vic being too cheap to spring for popcorn, while the grainy, flickering nude bodies writhing onscreen only remind Vic of his own raging libido. 

Note: This may have been covered in Ellison’s original 1969 novella, but just where did they get the gasoline in this 2024 to fuel generators and run movie projectors? We see one or two broken down vestiges of vehicles, but no one is driving them, so I assume that gasoline and electricity are more or less gone in this universe—unlike the “Mad Max” series, where there always seem to be whatever fuel is needed, despite that series’ own in-universe shortages.  Also of note; one of the porn actors in the vintage stag movie is none other than director and screenwriter L.Q. Jones, who was an actor as well. Jones starred in several prominent Westerns, including “The Wild Bunch” (1969) and “The Battle of Cable Hogue” (1970).

During the movie, Blood picks up the scent of another human female—this time in an abandoned underground warehouse. Descending carefully into the dilapidated spaces below, Blood is able to track the young woman to a locker room within.  Vic finds her and takes her captive. He learns that her name is Quilla June Holmes (Susanne Benton). Forcing her to undress at gunpoint (once again, this movie is not for the easily triggered or offended), Vic is distracted when Blood tells him that a band of raiders are approaching their position. Busily working out tactical strategies in his head, Blood is angered when Quilla distractingly attempts to befriend him (“Shut up!” he barks at her). 

Note: Canadian-born actress Susanne Benton had a somewhat brief acting career, with roles in TV and films, including “Gunsmoke,” “Love, American Style” and the 1970 war satire, “Catch-22.” She has apparently retired from acting after costarring in “The Last Horror Film” (1982).

Soon, the raiders are upon them, and Vic is forced into a firefight. With the bandits gone, an injured Blood limps back up to the surface, where he will stand guard until Vic finishes his “disgusting” carnal business (“The next time you play with yourself I hope you go blind,” the collie quips). As they have sex, Quilla responds positively, which surprises Vic, who is used to a more fearful reaction from his victims.  Quilla then offers to take him to her vast underground biosphere called “the Downunder,” a community that has survived the aboveground apocalypse. The residents of Downunder call their city Topeka, after its Kansas namesake, which was destroyed in World War 4. Topeka’s township has a church, a town hall, and even surrounding woodlands. Vic is then introduced to the ruling Committee, which includes Quilla’s father, de facto leader Lou Craddock (Jason Robards), along with Mez Smith (Helene Winston) and Dr. Moore (Alvy Moore).  When reunited with Quilla, it’s instantly clear that the lascivious Craddock desires his daughter in a deeply unhealthy way.

Note: Character actor Jason Robards (1922-2000) was the only prominent name in the cast, since this little indie movie came out nearly a decade before star Don Johnson found fame with TV’s “Miami Vice” (1984-1989); a series which also costarred Philip Michael Thomas (a graduate from my old middle school) and Edward James Olmos (“Blade Runner,” 2003’s reboot of “Battlestar Galactica”). Johnson was also a contender for the role of “Starbuck” in the original 1978 version of “Battlestar Galactica,” but the role ultimately went to actor Dirk Benedict.  Actor Hal Baylor, who plays Topeka’s burly enforcer Michael, also played a burly NYC cop in the classic Star Trek episode, “The City on the Edge of Forever” (1967); whose story was credited to Harlan Ellison before massive rewrites by Dorothy Fontana and other series staff writers made it unrecognizable to Ellison (more on that controversy here: A Tale of Two Cities: Star Trek’s “City on the Edge of Forever”). 

The culture of Topeka is locked in a surreal approximation of rural, early 20th century Americana; its inhabitants dress as though they’d just wandered off the set of TV’s “Hee-Haw,” wearing a cliched mix of their Sunday best and farmer’s overalls.  Even more bizarre is the whiteface, rosy-cheeked makeup uniformly worn by all residents.  Vic also learns that Topeka’s ordinances carry draconian punishments, with offenders summarily sentenced to “the farm” (which equals certain death).  To enforce their rules, the town has a brawny, overalls-clad enforcer known only as “Michael” (Hal Baylor).

Note: In the film, we never learn exactly why the inhabitants of Topeka developed their bizarre fetishes for whiteface makeup and rural early-20th century America clothing, but it’s not important, either; the movie is meant to be satire on the norms and customs of modern-day America, which Ellison not-so-secretly despised in his books and short stories.  Why do professionals feel the need to wear uncomfortable neckties? Why do women wear constrictive bras?  The whiteface and clothing are merely other customs that, over time, became the norm for this strange, isolated community. 

After taking his first-ever bath, Vic is fitted with a pair of overalls and a straw hat. He’s then escorted by the mysterious Michael to an ‘outdoor’ picnic in the woodlands of the Topeka biosphere (shot conveniently at night, to avoid expensive visual effects). There, Vic sees the decadent townsfolk eating platefuls of precious food and fruit which he could only dream of hours earlier.  Vic is also told that he is to be the town’s stud, since the number of male births in Topeka has come to a screeching halt. To the young surface-dwelling rapist, he has just hit the jackpot.

Note: Another reminder that Vic is not a traditional protagonist, and this is not a traditional ‘good vs. evil’ story. This is a universe where even the pretense of morality is little more than a sick joke.

After running afoul of a few local ordinances, Vic is taken by Michael before the Committee in their town hall. Vic can’t be exiled or killed for his transgressions, due to his value as a walking gene pool. However, Vic learns that he will be hooked up to an electro-ejaculation machine for his much-needed seed, instead of the more natural methods he envisioned.  Craddock tells Vic that his baby batter will be used to impregnate 35 women in the community.  At the end of his usefulness, Vic will then be sentenced to “the farm” and die, just like any other lawbreaker in Topeka…

Note: If this were a story with told through a more conventional moral lens, hooking Vic up to a painful electro-ejaculation machine would almost be a just punishment for the young serial rapist. Almost… 

Meanwhile, the ambitious Quilla has her own plans for overthrowing Topeka’s elderly leadership, which includes killing her creepy old man. She tries recruiting some of the town’s feckless young men, whom she soon realizes are next door to useless. Quilla then decides to rescue outsider Vic from his ejaculatory nightmare, so that she can seize power and wield him as her personal bludgeon. What she doesn’t count on is Vic.  Vic’s only desire is to get the hell away from this Norman Rockwell freak show and return to the comforting arms of the devil he knows in the wastelands above. 

Note: Anyone expecting a warm and fuzzy moment of reconciliation between Vic and Quilla will be disappointed. In fact, anyone seeking any kind of warmth within this dark-as-pitch satire will be disappointed.  Unlike many post-Star Trek sci-fi allegories, “A Boy and His Dog” has no morals or wisdom to impart, nor does it have any optimism for humanity’s future. What it does have are rich servings of gallows humor and nasty social satire. This is Harlan Ellison unleashed.

As the 35 brides of Topeka line up before the preacher (Charles McGraw) to receive their precious inseminations, Vic is sprung from the clinic and its machinery by Quilla, who then offers Vic a leadership position at her side, which he predictably refuses. Vic only wants to find Blood and be on his goddamned merry way.  With enforcer Michael on their trail and no time to discuss it further, the would-be revolutionaries head to the town hall, where Vic’s gun was taken after his indoctrination.  Soon, the two outlaws are making their way to Topeka’s underground woodlands, with Michael in hot pursuit. Vic fires his reclaimed gun at the brawny behemoth, but shot after shot fails to stop him.  It’s only when the final blast from the gun sends Michael into a shower of sparks that Vic realizes Michael’s an android, which explains both his strength and invulnerability.  For their rebellious transgressions, the Committee has decreed that both Vic and Quilla will be sent to “the farm.” No reprieve.

Note: When Michael true nature is revealed, I half-expected to hear a paraphrased line from the late “ALIEN” costar Yaphet Kotto saying, “He’s a robot! Michael’s a goddamn robot!”

With nowhere left to go, Quilla returns with Vic to the surface, which is under cover of night. There, Vic finds the injured Blood starving and near death.  Quilla tells Vic to abandon his dog and return with her for another coup attempt in Topeka. But Vic has already made his choice. We then cut to the following morning.  We see Blood and Vic walking together once again, just as we saw in the movie’s opening credits.  The still-limping Blood thanks Vic for the “food” that saved his life. Vic says Quilla should’ve never followed him back to the surface, implying that he killed her and cooked her remains for he and Blood to eat. Blood remarks “Well, I’d say she certainly had marvelous judgement, Albert, if not particularly good taste.” 

The End.

Note:  In interviews, the late Harlan Ellison (1934-2018) made it clear that he enjoyed this micro-budgeted ($400,000) movie adaptation of “A Boy and His Dog.” On the DVD commentary track, Ellison said he appreciated the movie’s fidelity to his novella, which was the middle story of a three-story cycle featuring Vic and Blood.  However, the infamous malcontent Ellison did take issue with Blood’s final line of “Well, I’d say she certainly had marvelous judgement, Albert, if not particularly good taste.”  Ellison called it “moronic, hateful (and) chauvinist,” though he conceded that it was popular with fans of the movie. 

Summing It Up.

There is an utter lack of morality in “A Boy and His Dog,” whose very title is a perverse twist on “Lassie” and “Old Yeller”-type films. This might be a tough sell for some audiences, who are trained to empathize with and relate to the protagonists of any given movie—even a dystopia.  Audiences can aspire to the courage seen in “The Hunger Games” or even “Furiosa.” But in this film, we’re invited into the scuzzy headspace of a serial-raping teenager and his telepathic dog, who scouts victims for his human in exchange for food.  Not exactly “Marley & Me”…

There’s an interesting mix of talent in the film, from a pre-“Miami Vice” Don Johnson to the late Jason Robards, who was already well established as a character actor at that point in his long career.  Western actor L.Q. Jones’ gritty, dirt-cheap direction is well suited for the movie, which is part drive-in exploitation flick and part madcap satire, with those disparate halves sandwiched together for the gallows humor punchline. Screenwriter Jones also clearly gets Ellison’s cantankerous mindset, as evidenced by his adapted screenplay. Much of Blood’s dialogue sounds like snippets from Ellison’s many rants.

The movie also uses its low-budget trappings smartly for maximum effect. The grim post-apocalypse landscape is little more than rags, a few tents and a motor-less ‘car’ right out of a Mad Max movie.  The Topeka biosphere, with its underground ‘woodlands,’ is conveniently shot at nighttime city parks. This darkness also reflects the willful ignorance and pointlessness of its inhabitants lives, or of anyone’s life in this movie. There are no ‘good guys’ to be found anywhere. Both the topside and Downunder inhabitants are doomed; with each living out grim pantomimes of the worlds they’ve lost, or in some cases, never knew.

“A Boy and His Dog” will not be everyone’s cup of tea, granted, but for those who watch? There is some dark, scathing social satire to be found, and therein lies the vicarious thrill of movies; the ability to safely enter radically different and often dangerous perspectives.  We don’t always have to see only our noblest selves reflected back to us. This is something modern audiences have largely forgotten.

To describe it as a pitch, “A Boy and His Dog” is a warped fusion of “Mad Max” and “Henry: Portrait of a Serial Killer,” with a heavy dose of “Mr. Peabody & Sherman.”  As incongruous as that sounds, that’s about the size of it.  Modern viewers will either sit tight and enjoy the show (with popcorn, for Blood’s sake), or they won’t. Those who do might appreciate the movie’s acidic commentary.

Where to Watch

“A Boy and His Dog” can be streamed for free in the US from Pluto, Crackle, Sling, Plex and Tubi streaming services, but with varying quality (the Plex print appears ripped from a VHS). The movie is also available in a remastered, high quality Blu-Ray and DVD from Shout! Factory (prices vary by seller).