White Dog

From the opening shot of a white flashlight piercing a black screen, Fuller's film is a model of intelligent simplicity. McNichol runs over a beautiful white Alsatian, takes it home to care for it, and discovers that the beast has been conditioned as a 'white dog' which attacks any black that it encounters. Rather than destroy it, she takes it to a black animal trainer (Winfield) to try to de-condition it... Just one of the many remarkable things about Fuller's impeccable treatment of racism is that it investigates that vile trait without showing a racist character; the dog is a perfect symbol for the confused and vicious conditioning that runs riot throughout the human world. Fuller has never heeded the false optimism of liberal creeds, and is well aware that there are no easy solutions to the problem; as the film's ending possibly suggests, you might just eradicate racism, but you'll never be rid of hatred. With Bruce Surtees' uncluttered camerawork, a superb score from Ennio Morricone, and fine acting throughout, this is one film of Fuller's which is most complex in its emotional sway: compassionate towards both animal and humans in the error of their ways, but fuelled by a seething anger. There is certainly no finer film on its subject. GA/CPea.