Shark

The film is an odd one for the Fuller filmography. First, it is supposed to be set in Sudan, when nothing in the film resembles Sudan or the Sudanese. Second, Fuller dissociated himself from the film after disagreeing with the producers on using the apparent footage of a stunt diver being killed during filing by a shark (covered by LIFE magazine, and later all evidence of the mishap being mysteriously removed from official records.) Fuller is credited as the director in the final film credits, though IMDb lists another co-director Rafael Portillo. Fuller found the final product to be considerably different from what he had shot. Third, the ending is superb--where the viewer has to figure out the inevitable end--very unusual for a Hollywood film. Fourth, this is a rare Fuller film, which uses a good established actress--the Mexican actress Silvia Pinal, who was chosen by Bunuel in three of his films "The Exterminating Angel," " Viridiana." and "Simon of the Desert." Fifth, actor Arthur Kennedy has an unusual role as a drunk doctor who has a degree from Johns Hopkins University and can still save an injured boy by operating on him in an open bar room with guests, while the doctor has imbibed a lot of liquor!

Fuller's pet theme of family persists. Here, an orphan waif, sleeping on the streets, is saved from possible deadly injuries by a father figure who doesn't even know the boy's real name.

Based on a novel (which I've read) by Victor Canning. Mexico stands in for a squalid town in the Sudan where a group of seedy characters are stranded. Barry Sullivan is the grumpy honcho with the shady moves. A fortune in submerged gold in a shipwreck in shark-infested waters is the prize. Burt Reynolds, channeling the Wages of Fear, has reason to sweat: he has to carry a long and boring sub-plot concerning his "relationship" with a scroungy little street kid until the main plot kicks in. Arthur Kennedy(I think he was supposed to be an Arab. He's wearing a fez, anyway) shamelessly hams it up as the town drunk.Sure, Burt Reynolds is trapped in the dead-end of the Sudan, yet shirtless in some tight white pants he comes across as cocky as his chest is hairy.

Sam Fuller's hard-boiled sensibilities surface in the existential dialog: "Just getting up in the morning is a risk." The main trouble with the film, aside from the horrendous post-production hack-job performed upon it by the clueless producers, is the dull and draggy pace. With a few judicious trims and without the wholesale chop chop this could be a much better film. Also the old source print is so dark at times it is impossible to tell what is happening. As it stands it is a curiosity, worth watching at least once, but nothing more.

Stranded American with dubious origins takes a job as a deckhand aboard the vessel of a marine biologist and his attractive assistant as a means to escape the Sudan. Amid all the fisticuffs and double-crossing, a few people are mauled by a rogue shark. Ostensibly a sunken treasure picture, this film was notorious at the time of its release after one of the stunt divers was fatally mauled by a supposedly sedated shark, but this notoriety doesn't warrant any serious speculation into the film itself, which lacks excitement.

Burt Reynolds as the gun-running Caine, while affable, isn't given the dialogue to make a memorable impression, while his supporting cast (some of distinction), also labour pointlessly with limited material. Mexican based actress Silvia Pinal is visually striking, but her characterisation is a muddled contradiction of sympathy and cruel indifference (that perhaps is not attributable to her interpretation, but the standard of the script).

The scenery is uninteresting, the minor players are obscure and hollow (with the exception of Runt, the cheeky, cigar smoking Mexican boy whom Caine befriends) and the sight and sound elements are amateurish. Director Fuller reportedly was so ambivalent about the movie, he distanced himself to the point of requesting his name be removed from the credits (which was declined). Despite this, Fuller's appreciation of film noir is evident in the characterisations, dialogue and staging, which at times, is strangely reminiscent of a film noir.

Though the title "Shark" bares some (scant) relevance to the plot, it's hardly a campaign of terror; three mangled corpses does not one shark movie make. Reynolds spends most of his time fighting, shaving and berating poor old Arthur Kennedy for being a hopeless drunk. In the end, everyone gets their comeuppance to varying degrees; some in the jaws of an unimpressive (in terms of threatening appearance, perhaps two metres at most) shark, others in more subtle fashion. Perhaps inspection of the novel on which this so-called film is based ("His Bones Are Coral" by Victor Canning) might glean some light on just why some distinguished film-makers elected to participate in such a mediocre picture.

The majority of this Fuller film takes place in a little Sudanese village where Burt Reynolds can't seem to leave because of a little arms smuggling incident. He plays his usual tough guy role which is amplified ten times because this IS a Sam Fuller film. It all concerns a rather ridiculous plot involving sunken treasure in shark infested waters. What actually hat makes up 90% of this film is just a lot of macho, stupid and funny moments revolving around theft, fighting, drinking and romancing in a foreign land. Man Eater a.k.a. Shark! is an entertainingly mindless piece of celluloid that will probably go down better with a few drinks and some friends who can appreciate the trashier things in life.

It being said that Shark is far from being what co-writer/director Samuel Fuller envisioned is right on the money. Or rather, lacking money, because this film seems to have been made with change that fell from the pockets of the producers. It's another film that looks and feels like it was made with the grit and gusto of a man with a need to tell a story, but unfortunately it's quite compromised. On the DVD- not too unfitting released by Troma- the special features go to lengths to explain what became of the film once it was completed, and taken out of Fuller's hands to even include (at the START of the film) a real lethal shark attack. That the film, ironically, is not the total disaster that Fuller thought it was once he saw what the producers did, is a credit to him and first-time movie star Burt Reynolds.

Now, as long as you're not a stickler for little things like, say, continuity (check out that beard, or how it withers scene to scene, for example), the film isn't a total waste. For one thing it still carries the memorably tough wit of some of Fuller's noir films of the 50s, and he still makes his mark on the film in spurts, as one can tell through its fractured, ultra low-budget qualities (i.e. made in Mexico with a shamble for Sudanese sets, if that's what they are). He also gets a little cool gusto out of Reynolds, who would later bloom, so to speak, as a major star in his own right. Here, however, he's still finding his feet some of the time, so it goes without saying that it's more machismo and presence than real 'acting' up on screen. He plays Caine, a mercenary gun seller with a predilection for wacky danger (i.e. tossing dynamite out of his car to thwart those on his tail at the start). He gets recruited by a tempting female who offers him a chance to dig up gold in a sunken ship...all in shark infested waters! When these scenes do finally come up after a lot of plot line subterfuge, it's hit or miss.

Then again, this is long before Jaws, so if the temptation to hear a really rousing score over the underwater scenes does strike you, it speaks to not just that film's strengths but how Shark! doesn't quite realize all of its potential. It wouldn't be 100% fair to blame just the producers for the bits of fiasco, because even through what is quite good that Fuller pulls off on screen (I liked the small chase in the village with the boy and the watch, and a few of the more blatantly exciting moments with Reynolds in his underwater garb), he doesn't have that much of a really terrific story to work with to start with. Maybe it's a combination of factors, but that it's Sam Fuller's weakest movie I've seen of his films is both a credit to what he could do with what could possibly have been a real Z-grade stinker and a tome to what he couldn't do with un-supportive, conniving producers. Probably worth a good, dumb time for drinking buddies, however.