IMDb > A Boy and His Dog (1975)
A Boy and His Dog
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A Boy and His Dog (1975) More at IMDbPro »

Photos (See all 8 | slideshow) Videos (see all 5)
A Boy and His Dog -- World War IV has ravaged Earth, and its survivors must battle for food, shelter and companionship in a post-atomic  wasteland.
A Boy and His Dog -- US Home Video Trailer from Media Home Entertainment
A Boy and His Dog -- Clip: The Mythical Land Of Kansas
A Boy and His Dog -- US Home Video Trailer from Media Home Entertainment
A Boy and His Dog -- Clip: Not Without My Dog

Overview

User Rating:
6.6/10   11,462 votes »
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Director:
Writers:
L.Q. Jones (screenplay)
Harlan Ellison (novel)
(more)
Contact:
View company contact information for A Boy and His Dog on IMDbPro.
Release Date:
November 1975 (USA) See more »
Genre:
Tagline:
A rather kinky tale of survival See more »
Plot:
A post-apocalyptic tale based on a novella by Harlan Ellison. A boy communicates telepathically with his dog as they scavenge for food and sex... See more » | Full synopsis »
Plot Keywords:
Awards:
2 wins & 2 nominations See more »
User Reviews:
it's post-apocalyptic, it's satiric, it's psychological, and it's a purely, originally crazy work of 70s cinema See more (114 total) »

Cast

  (in credits order) (verified as complete)

Don Johnson ... Vic
Susanne Benton ... Quilla June Holmes

Jason Robards ... Lou Craddock
Tim McIntire ... Blood (voice)
Alvy Moore ... Doctor Moore
Helene Winston ... Mez Smith

Charles McGraw ... Preacher
Hal Baylor ... Michael
Ron Feinberg ... Fellini

Michael Rupert ... Gery (as Mike Rupert)
Don Carter ... Ken
Michael Hershman ... Richard
rest of cast listed alphabetically:

L.Q. Jones ... Actor in Porno Film (uncredited)
Tiger ... Blood (the dog) (uncredited)

Directed by
L.Q. Jones 
 
Writing credits
L.Q. Jones (screenplay)

Harlan Ellison (novella)

Wayne Cruseturner  uncredited

Produced by
Tom Connors .... associate producer
L.Q. Jones .... producer
Alvy Moore .... producer
 
Original Music by
Tim McIntire 
 
Cinematography by
John Arthur Morrill (photographed by)
 
Film Editing by
Scott Conrad 
 
Production Design by
Ray Boyle 
 
Makeup Department
Wes Dawn .... makeup artist
 
Art Department
Terry Ballard .... property master
 
Sound Department
Sean Byrne .... sound (restored version)
James Contrares .... boom operator (as James Contreras)
Gilbert D. Marchant .... sound effects
Rod Sutton .... production mixer
 
Special Effects by
Frank Rowe .... special effects
 
Stunts
Denny Arnold .... stunts
William H. Burton Jr. .... stunt coordinator (as Bill Burton)
Gary Combs .... stunts
Gary McLarty .... stunts
Bob Orrison .... stunts
 
Camera and Electrical Department
Richmond L. Aguilar .... electrician (as Richmond Aguilar)
Guy Badger .... generator operator
Dennis Bishop .... best boy
Phillip Dunn .... grip
John Arthur Morrill .... camera operator
John C. Murray .... electrician (as John Murray)
Tom Ramsey .... key grip
Tim Wawrzeniak .... first camera assistant
Kurt Young .... grip (as Kurt P. Young)
David Needham .... electrician (uncredited)
 
Costume and Wardrobe Department
Leo Kraak .... costumes: Miss Winston
Steve McQueen .... assistant wardrobe
Carolyn Moore .... wardrobe
 
Editorial Department
Michael Klick .... assistant editor (uncredited)
 
Music Department
Larry Bunker .... musician
Herb Crawford .... musician
Ray Manzarek .... musician
Jimmy Maxwell .... musician (as Jim Maxwell)
Jaime Mendoza-Nava .... composer: "Topeka" music sequence
Rick Ruskin .... musician (as Richard Ruskin)
 
Other crew
Richard Butz .... production assistant
Nat Cohen .... presenter
Joe Hornok .... trainer: "Blood" (as Joe Hornak)
Don Karr .... production assistant
Randy McQueen .... production assistant
Hannah Scheel .... script supervisor
Maggie Smith .... production secretary
Steve Smith .... title designer
Lou Schumacher .... dog owner: "Blood" (uncredited)
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Runtime:
91 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Company:

Did You Know?

Trivia:
In "The Book Of Eli" when Eli is locked in the room after killing the bikers in the bar, there is a poster of this movie on the wall over the bed.See more »
Goofs:
Audio/visual unsynchronized: While the marching band in Topeka's picnic passes camera, the girl playing cymbals doesn't actually clash the cymbals. She only pretends to do it.See more »
Quotes:
Blood:I hope the next time you play with yourself, you go blind.See more »
Movie Connections:
Referenced in Be Kind Rewind (2008)See more »
Soundtrack:
When the World Was NewSee more »

FAQ

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27 out of 33 people found the following review useful.
it's post-apocalyptic, it's satiric, it's psychological, and it's a purely, originally crazy work of 70s cinema, 5 January 2008
Author: MisterWhiplash from United States

Damned if I know what gravitated LQ Jones to Harlan Ellison's novella of the title let alone to adapt it into a film. A veteran character actor, he's the one, for better or worse (for me the better), responsible for A Boy and His Dog, a story that takes place after World War 4, nevermind 3, where a young guy and his dog, whom he can understand ala Dr Doolittle, roams the desert fighting off wild savage men and looking for food and women. But there's more than just this premise- there's also the other side to this barren wasteland which, by the way, served as inspiration for the Mad Max series. There's also the "down under", where a society that's a cross between puritanical Kansas- dubbed Topeka- and a Fellini movie, is sterilized and needs fresh seed to repopulate its people. Where the ones living up above are brutal beings who can't give a damn about anything aside from what's next to eat or who's next to have their 'way' with (and the occasional projected porn movie), the ones below have created a f***ed up enclave where a robot bodyguard chokes anything in his path. Sounds, um... peachy keen, don't it?

A Boy and His Dog is as surprising an effort that has ever come into the genre, where imagination is pushed to its most cynical, rotten roots, where a wealth of pitch black comedy awaits those who have no problem with the repore between a slightly dim dude and a dog who seems to be part comic relief, part 'get-your-head-out-of-your-ass' voice of reason. Indeed, there could be something else read into all of this wackiness: if taking Freud into account, there's almost a super-ego aspect to the dog, where Vic (Don Johnson) only hears and talks with Blood (yes, a dog named Blood), who Vic trusts beyond all reason, while the boy himself is like a version of the Id, out for survival but also out for his carnal needs, no matter what the price. It's also very smart that Jones doesn't explain anything about the dog's abilities if it is meant to be that he and the dog can really talk to another. Damned if I would take a convoluted explanation anyway, all the funnier. In fact, Blood, as voiced with a perfect sardonic (yet also rather touching) style by Tim McIntire, is probably the character the audience can identify with, like the Neville/Sam bond in I Am Legend given a twist out of a Robert Crumb comic.

And all the while Jones makes this a future that looks lived in, a wasteland with leftover parts and clothes and production design full of boiler rooms and dark halls and places left untreated for years, AND in the 'down under' scenes a kind of plastic, small-town look that is probably even more eerie than the one up above. For what should be just an outrageous B-movie is a lot smarter than one would ever think looking at the premise. The dialog is invigorating in how it stays truthful while also aiming for the bizarre, and as with the most cringe-worthy of satire (i.e. the scenes with Jason Robards and the 'committee'), things said with a straight face and deadly serious always garner up huge laughs. Yet there's also an intelligence to the film-making as well. This could have looked cheaply made and shot poorly like many a B-movie, but Jones's DP John Arthur Morill gets some great, strange compositions out of this 'after'-world, sometimes spotting (better than average) Johnson give facial expressions like he knows what's going on but doesn't all the same.

It should be way too ridiculous to be taken seriously as a piece of legitimate cinema, as some gonzo experiment that's dug up by cultists for tongue-in-cheek purposes. But Jones's film is, in its way, a weird landmark, a moment where the basic fronts of a 70s 'exploitation' flick (action, comedy, randomness of the 70s, nudity) are put through the perspective of a filmmaker with brains and talent to make it stick in your mind, as it presents its story through the prism of a society gone amock through two prisms, both hells in one way or another (though one, not too arguably, is a lot more fun than the other). Is it a Clockwork Orange or Blade Runner? Not quite. But I'd never kick it out of my collection, if only for one of the truly classic end lines of any movie, a bad pun that gives one more hysterical smack across the face.

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