Grizzly (1976)

Jaws with Paws? Jaws with Claws? Nope, it’s Jaws with Flaws.


Look, you can throw whatever insults you like at Grizzly – it can take it, it’s only an EIGHTEEN FOOT TALL BEAR, after all! Or is it? The (brilliant) poster makes that dubious claim, but the film itself has one character suggest that it’s merely FIFTEEN FEET TALL! Yet when we do see the grizzly in all its terror, it’s REGULAR BEAR-SIZE at ELEVEN FEET TALL! Hmm, now that’s proper false advertising, that. Grizzly is a shameless quickie rip-off of Spielberg’s immortal shark thriller, only this time the horrors take place in the bucolic locale of a National Park rather than the mystery of the ocean and the attractions of the beach.

Quick similarities of note include a trio of intrepid heroes, one of which is a Roy Scheider-style enforcer of the law who struggles to fight the bear admist selfish bureaucracy represented by a callous mayor-type (natch), and another is an Robert Shaw-like obsessed bear-fanatic who wants to confront Grizzles mano-a-bear-o. The third doesn’t quite resemble Richard Dreyfuss, but he does have a USS Indianapolis-style anecdote to give us like Shaw so wonderfully did. I thought the actor who played him was the same one who portrayed the reclusive Howard Hughes-esque fall guy from Diamonds are Forever, but it’s not. Even the fate of the bear is just as explosive as that of the shark, though unlike Jaws, where said outrageous demise was cleverly set-up throughout the course of the final act, here we simply get a rocket launcher produced from somewhere in the back of a helicopter. BOOM!

Just like Jaws, the villain in this has no real back story or reason to show up, it’s just there. Oddly enough, its first victim is played by Susan Backlinie, who also played the famous h’ors douvres in Spielberg’s iconic opening sequence. Her death here becomes a quick afterthought though, as we move onto a second victim within mere seconds. We’re also spared a full shot of the bear for the first part – just a few teases of swiping claws and the use of point-of-view shots, which in retrospect make the bear’s stalking resemble that of Jason or Michael Myers. When we do see the monster in all its glory, its true size is thoroughly disappointing given we were expecting this behemoth of a bear.

The film attempts to outdo the already bloody violence of Jaws with a bigger kill count and plenty of gore. We get a severed arm ten minutes in, and a nasty slashed face soon after. Later on we get torrents of blood spilled through the rapids, a shocking attack on a mother and son and various bloody maulings. Luckily a rabbit is spared. A horse is not so lucky. This film has recently been doing the rounds on the UK’s Horror Channel, but only during afternoons, where its surprisingly grisly (grisszzly?) violence gets mauled by the censors in a manner in which our eleven-feet tall killer would almost be proud. Yeah, Grizzly has no qualms about who it eats, and this is one of those films that got a PG in America – before the PG-13 arrived in 1984, PG films in America were far more extreme in content than they are now, and in recent reviews of mine I was surprised to discover that films like Race with the Devil and the 70’s version of Invasion of the Body Snatchers were rated PG. Audiences were made of sterner stuff back then, I suppose. In the case of Grizzly, I hear some of the truly nasty bits were nevertheless trimmed on theatrical release.

Either way, there’s a grim tone throughout – humour is mostly absent (most of the laughs come unintentionally – I love the line ‘that’s all we need – a killer bear on the loose’, delivered like it’s a mild inconvenience), no one is automatically safe from the film’s body count and the ending is more sober than happy. The script and performances are servicable, although it’s nice to see the dependable Christopher George in the lead – he’s probably best known for his definitive death throes in B-movie spectacular Enter the Ninja and being the pick-axe happy co-lead in Lucio Fulci’s City of the Living Dead. He’s got a pretty one-dimensional character to work with, but he brings warmth, seriousness and lead presence to the role. All of the other actors, stuck with what they’ve got, just get on with it, and some of them even survive to the end. The forest locations are well used and best experienced in widescreen, while the music resembles the more heroic themes from….yes, Jaws. Actually, if this was a Jaws film, it would rank quality-wise somewhere between Jaws 2 and 3. So not bad at all. But not very good.

P.S: Note that the above poster actually refers to the bear as ‘Grizzly’ as though that was its name. That’s definitely a step-up from Jaws, which chickened out from actually having its characters refer to the shark as ‘Jaws’, though that didn’t stop Bart Simpson from saying ‘this is where Jaws eats the boat’ when watching it on TV. He did go a bit far when excitedly claiming such things as ‘this is when Die Hard jumps through the window’ and ‘this is where Wall Street gets arrested’.


2 thoughts on “Grizzly (1976)

  1. Back in the early years of the 1980’s, a friend of my dad’s stayed over and brought with him an early Betamax machine. In one evening we watched Grizzly, followed by Snowbeast, followed by Killdozer. Thus was begun a lifelong passion for ‘Munchy Munchy’ films that still exists to this day.

    • Brilliant! Grizzly is a quintessential Betamax movie! It belongs in the ‘munchy munchy’ canon as you say – I’ve not heard of the other two films from your evening’s viewing – needless to say I’ll have to check them out!

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