Bless the Beasts & Children (1971)

GP | 100-101,106 or 109 mins | Drama | 20 September 1971

Director:

Stanley Kramer

Writer:

Mac Benoff

Producer:

Stanley Kramer

Cinematographer:

Michel Hugo

Production Designer:

Lyle Wheeler

Production Company:

Columbia Pictures
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HISTORY

Flashbacks are used throughout Bless the Beasts & Children to portray the troubled home lives of each of the boys. Footage of the buffalo massacre is also seen sporadically throughout the film. According to Filmfacts, prior to its release in the U.S., Bless the Beasts & Children was shown and well received at the Berlin Film Festival, as well as festivals in Moscow and Ontario, Canada, but its positive reception abroad was in stark contrast to its critical reception in America.
       An Aug 1971 Var article on the upcoming release of Bless the Beasts & Children speculated that the National Rifle Association might find the portrayal of hunters engaged in animal cruelty alarming enough to protest the film, but no information has been located to verify that any actual protests by the organization took place. Producer and director Stanley Kramer admitted that he contributed to the film's mixed reception by responding angrily to accusations that the film was about gun control in America.
       An Oct 1971 HR article states that the Los Angeles affiliates of the three major television networks, ABC, CBS and NBC, refused to air a commercial for Bless the Beasts & Children that featured well-known Southern California journalist Bill Stout interviewing an actor portraying a representative of a fictitious group, the "American Gun Cult Association," who denounces the film as an attack against hunters. The article added that although the commercial had played in Denver, Salt Lake City, Chicago, Philadelphia and New York without issue, a representative for station KNBC, the local Los Angeles NBC affiliate, was quoted as declaring ...

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Flashbacks are used throughout Bless the Beasts & Children to portray the troubled home lives of each of the boys. Footage of the buffalo massacre is also seen sporadically throughout the film. According to Filmfacts, prior to its release in the U.S., Bless the Beasts & Children was shown and well received at the Berlin Film Festival, as well as festivals in Moscow and Ontario, Canada, but its positive reception abroad was in stark contrast to its critical reception in America.
       An Aug 1971 Var article on the upcoming release of Bless the Beasts & Children speculated that the National Rifle Association might find the portrayal of hunters engaged in animal cruelty alarming enough to protest the film, but no information has been located to verify that any actual protests by the organization took place. Producer and director Stanley Kramer admitted that he contributed to the film's mixed reception by responding angrily to accusations that the film was about gun control in America.
       An Oct 1971 HR article states that the Los Angeles affiliates of the three major television networks, ABC, CBS and NBC, refused to air a commercial for Bless the Beasts & Children that featured well-known Southern California journalist Bill Stout interviewing an actor portraying a representative of a fictitious group, the "American Gun Cult Association," who denounces the film as an attack against hunters. The article added that although the commercial had played in Denver, Salt Lake City, Chicago, Philadelphia and New York without issue, a representative for station KNBC, the local Los Angeles NBC affiliate, was quoted as declaring the commercial "too violent." A biography on Kramer indicates that the director went on a television talk show to defend the film against a sports magazine writer, but instead seemed to emphasize that it indeed had an anti-gun theme. Kramer also admitted that the footage of the buffalo slaying seen in the film was authentic, provided by an association at Arizona's Hidden Valley Ranch, where portions of the film were shot.
       Music in the film written by Barry DeVorzon and Perry Botkin, Jr., unofficially credited as "Cotton's Dream," was later used as the theme music for a television soap opera, The Young and the Restless. The same tune, renamed Nadia's Theme, became a best-selling single after NBC Television used it in a special highlights montage of Gold Medalist Romanian gymnast Nadia Comaneci during the 1976 Montreal Olympics. The title theme sung by The Carpenters (credited onscreen as "Carpenters") was also a successful single release and received an Academy Award nomination for Best Song.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Filmfacts
1971
pp. 598-600
Hollywood Reporter
31 Jul 1970
p. 9
Hollywood Reporter
9 Oct 1970
p. 8
Hollywood Reporter
8 Jul 1971
p. 3
Hollywood Reporter
7 Oct 1971
---
New York Times
29 Oct 1971
p. 29
Newsweek
6 Sep 1971
p. 67
Saturday Review
23 Oct 1971
p. 25
Variety
14 Jul 1971
p. 16
Variety
4 Aug 1971
---
Village Voice
25 Nov 1971
p. 87
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Stanley Kramer Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Company grip
Chief elec
ART DIRECTOR
Art dir
FILM EDITOR
William A. Lyon
Film ed
SET DECORATORS
Set dec
Prop master
COSTUMES
Cost
MUSIC
Mus wrt and comp
Mus wrt and comp
Orch
Orch
VISUAL EFFECTS
Title des
Spec eff
PRODUCTION MISC
Scr supv
Prod supv
SOURCES
LITERARY
Based on the novel Bless the Beasts and Children by Glendon Swarthout (Garden City, NY, 1970).
LITERARY SOURCE AUTHOR
MUSIC
"It's a Beautiful Day" by Bill Mumy and Paul Gordon.
SONGS
"Bless the Beasts and the Children," words and music by Perry Botkin, Jr. and Barry DeVorzon, sung by Carpenters.
PERFORMED BY
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
20 September 1971
Premiere Information:
Denver premiere: 25 August 1971
Salt Lake City premiere: 27 August 1971
Production Date:
late Jul--mid Oct 1970 in Prescott, AZ and Santa Catalina Island, CA
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Industries, Inc.
3 July 1971
LP39463
Physical Properties:
Sound
Color
Technicolor
Duration(in mins):
100-101,106 or 109
MPAA Rating:
GP
Country:
United States
Language:
English
SYNOPSIS

At the Box Canyon Boys Camp in Arizona, sixteen-year-old John Cotton has a nightmare in which he and his cabin mates are placed in a corral and brutally shot down by hunters who turn out to be the boys’ parents. Cotton awakens to find the other boys, Lawrence Teft, Sammy Shecker, brothers Steve and Billy Lally and young Gerald Goodenow, also awake and tense. Earlier that week, counselor Wheaties had taken the boys to a nearby buffalo preserve where people pay a fee to join state representatives in a ritual slaughter of buffalos to control the animals’ population. Knowing the boys’ trauma mirrors his own, Cotton suggests that they take action and return to the preserve to free the remaining buffalos scheduled for massacre. The others quickly agree and soon are riding away on camp horses. Later, Cotton stops the group to emphasize that they will be committing an illegal act, but the boys remain united. As they ride on, each of the boys reflects on his first few weeks at the camp, whose snappy motto, “Send Us a Boy, We’ll Send You a Cowboy” emphasizes their dedication to athletic ability: Shecker, son of a famous television comedian, repeats his father’s jokes and, being overweight, is uninterested in sports; Goodenow, whose mother has constantly babied him is, at fourteen, still wetting his bed at night; and the laconic Teft resents the forced camp games and consistently sabotages his own performance. After the first two weeks, the camp director calls a “pow-wow” to assign boys to the cabin determined by their abilities during the competitions. As they are filled, ...

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At the Box Canyon Boys Camp in Arizona, sixteen-year-old John Cotton has a nightmare in which he and his cabin mates are placed in a corral and brutally shot down by hunters who turn out to be the boys’ parents. Cotton awakens to find the other boys, Lawrence Teft, Sammy Shecker, brothers Steve and Billy Lally and young Gerald Goodenow, also awake and tense. Earlier that week, counselor Wheaties had taken the boys to a nearby buffalo preserve where people pay a fee to join state representatives in a ritual slaughter of buffalos to control the animals’ population. Knowing the boys’ trauma mirrors his own, Cotton suggests that they take action and return to the preserve to free the remaining buffalos scheduled for massacre. The others quickly agree and soon are riding away on camp horses. Later, Cotton stops the group to emphasize that they will be committing an illegal act, but the boys remain united. As they ride on, each of the boys reflects on his first few weeks at the camp, whose snappy motto, “Send Us a Boy, We’ll Send You a Cowboy” emphasizes their dedication to athletic ability: Shecker, son of a famous television comedian, repeats his father’s jokes and, being overweight, is uninterested in sports; Goodenow, whose mother has constantly babied him is, at fourteen, still wetting his bed at night; and the laconic Teft resents the forced camp games and consistently sabotages his own performance. After the first two weeks, the camp director calls a “pow-wow” to assign boys to the cabin determined by their abilities during the competitions. As they are filled, each cabin is given a Native American tribal name and awarded a mounted animal head trophy. The misfits cabin, whose occupants have scored the lowest in the games, are dubbed The Bedwetters and presented with a chamber pot. Back on the trail at sunrise, Cotton realizes that the boys will never reach the preserve by the day’s end if they continue on horseback and declares they must leave the horses behind and hitch a ride. After several trucks pass the boys by, Cotton grows frustrated until Teft suggests that they stop at the next town and steal a car. In town, they find a battered large jeep used by a pest control company, which Teft easily hotwires. The Lally brothers, known as Lally 1 and Lally 2, bicker constantly throughout the trip, as Steve resents the sweet-faced Billy for being spoiled and indulged at home. As the trip proceeds, the boys again reflect on their life at camp: When Wheaties suspects the boys have been smoking pot, he threatens to turn them in until he is sidetracked by Shecker’s gift of new radio headphones. Later, The Bedwetters' attempt to steal the trophy from another cabin fails and the boys suffer a group paddling, then are doused by the contents of the chamber pot, filled by each camper. After Goodenow is kicked out of another cabin for the second time, he walks into the lake, declaring he will kill himself, but finds the water too cold. Cotton invites Goodenow to join The Bedwetters and vows if anyone taunts the younger boy, he will beat them up. In the present, Shecker pleads for Teft to stop at the next town for food and Cotton reluctantly agrees. The boys enter what they believe is a deserted diner, but after ordering hamburgers, discover two pool- playing hustlers who, sizing the boys up with their camp T-shirts, immediately begin harassing them. The hazing reminds Teft of his sarcastic father, an obsessive stockbroker who has no patience or understanding of his son. Cotton urges the boys to take their food with them, but after the boys drive off, the men follow and force them to pull over. Unknown to the others except Cotton, Teft has brought along a BB gun, but when he threatens the men with it, they only laugh. Teft then shoots out a tire on their car, enabling the boys are able to resume their journey. That afternoon, however, the jeep comes to a halt and Teft realizes that he has completely forgotten about keeping the car fueled. Cotton grows hysterical and insists the car will restart. His distress prompts Cotton to think of his mother, a beautiful but insecure woman who has divorced Cotton’s Marine officer father to carry on romances with several men. Prodding Cotton out of his panic, Teft urges the boys to begin walking, but Cotton declares the mission is a failure. One by one, however, each boy renews his dedication to try to reach the preserve and, pleased, Cotton rejoins the boys, who walk on into the night. Hours later, as the boys suspect they may be lost, they hear the sound of buffalos snorting and mingling in a large corral. Overcome with happiness, the boys rush to look at the beasts, recalling the tragic slaughter witnessed a few days earlier: Shocked by the callous salvo by several inexperienced shooters, including a child, the boys stagger away from the corral. Later, a young boy who had joined the shoot-out proudly displays the head of one of the victims and tells the boys the animals are useless and deserve to die. That evening, Wheaties lambastes the boys for their weakness until Teft intercedes. Throwing open Wheaties’ footlocker, whose lock he has picked, Teft displays the counselor’s vast pornography collection and a loaded pistol, vowing to report him unless he leaves them alone. In the present, Cotton surveys the area in the moonlight and maps out a rough plan for Teft to pick the gate’s lock and the others to send the animals out of the pen. Teft then examines the lock and confesses that he cannot open it, sending Cotton into another emotional frenzy. As dawn breaks the next morning, the boys awaken as Teft roars into the preserve with a stolen truck. Reinvigorated, Cotton ties the gate chain to the truck and after prying the gate away, the boys blast their portable radios to rouse the buffalo. As the startled animals move out of the corral, the boys begin to cheer only to pause in dismay as the animals walk only a few yards away, then begin grazing. While the sheriff, Wheaties and several preserve representatives approach, Cotton jumps into the truck and races off to herd the buffalo away. Alarmed, the sheriff orders the men to shoot out the truck tires, but one shot goes amiss and kills Cotton. Horrified, the boys surround the truck as the buffalo gallop away to freedom.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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