Sharks are good. The wild boars are the foot. When Steven Spielberg was directing Jaws in 1975, he probably had no idea that he was going to inspire almost a sub-genre on his own. Among its countless illegitimate offspring, some nuggets stand out frankly, such as the sublime Razorback.
Herself with a silky coat, the writing of Ecran Large has decided to embark on a small cycle on films of stupid, crawling, thundering, galloping and devouring. But before talking about reptiles with big crocodiles, big snakes and big monitor lizards, we come back to one of the jewels of the genus and its mammal with threatening tusks. Initially a simple Australian decal of Sea teeth, it gradually turned into an unforgettable aesthetic trip. By what miracle?
Where’s Obelix when we need him?
There is a beauty of recycling in the exploitation cinema, the margouline B series and the mown capitalizations, that the great classics will never manage to touch. Razorback This is proof: at its origin, there was nothing less than the will to replicate the formula that transformed American popular entertainment. And yet, he will forge a true identity. He is very far from being the only one.
At the end of the 1970s and in the first part of the 1980s, films of critters with fins, hairs or feathers abound in the land of Uncle Sam (Piranhas, Orca and later Tremors), and Italy (Tentacles, The Red Ocean Monster…) and elsewhere. The Australians are sure to get started, and they are not going to do it halfway.
Orca, another nugget of its kind
In the aptly titled documentary Shark on legs, producer Hal McElroy readily admits: when he leafed through the first unpublished version of journalist Peter Brennam’s novel, he immediately saw a similarSea teeth. Before even approaching a director, he contacted Bob McCarron, whom he knew from his work on Mad Max 2: The Challenge, and asked him if he was able to make a boar the size of a rhino. Astonished, but amused, the artist replied in the affirmative.