A little over a decade ago, British author Louis de Bernieres, whilst passing through the Pilbara region of north-western Australia, became acquainted with the legend of Red Dog.
A red kelpie (cattle dog), a larrikin by nature, had roamed the region in the 1970s, beloved by all, owned, briefly, by one.
Tally Ho is believed to be his first name, arriving in the isolated mining town of Dampier and surrounding areas in 1971. But the nickname Red Dog stuck, owing to the red dirt of the area.
A town full of men working at the huge Hamersley Iron or the equally enormous open sea salt works, separated from families, worked hard and, in the few short hours of leisure, played hard. Most were lonely. The kelpie, forever on the move, refusing to be tied down, was seen as a kindred spirit and adopted by the workforce.
Hitching rides in cars, Hamersley Iron buses, trains was the norm for the dog, making friends but avoiding single ownership. Until John Stazzonelli, a driver from New Zealand, arrived in town.
For a few short years until the Kiwi’s tragic death, Red Dog was loyal to one master. But, at his unexplained loss, the canine searched high and low for John, travelling across Australia in search of his master. But he eventually returned to Dampier and the many friends he had left behind.
On his death in November 1979, the town erected a statue in his memory.
Red Dog – the film adaptation
Optioned by Australian-born, LA-based producer Nelson Woss, Bernieres’ novel was adapted for screen by Daniel Taplitz and directed by Kriv Stenders.
For commercial reasons, John Stazzonelli was changed to an American rather than a Kiwi, allowing US actor Josh Lucas to be cast in the lead – a decision that works beautifully in the film.
Lucas is perfectly cast as the tough but sensitive jock who initially refuses to be won over by Red Dog, and whose winning smile, exuding warmth and inclusion, overcomes the occasional slip into sappy dialogue and forced plot development.
It’s John’s arrival on the scene that provides the focus for the tale – the first third of the film having provided a long (but enjoyable) introduction to the place and time of Dampier and the Pilbara in the 1970s.
Firmly targeting the heartstrings, many a tear is shed at screenings. But, inversely, Red Dog is also an uplifting, feel-good family film – the lengths the kelpie goes to track down his master is inspirational: the nothing-is-sacred humour, certainly watered down for wider consumption, perfectly captures outback life.
Whilst not without its flaws (the occasional clunky scene, two-dimensional characters), it’s stunningly shot with the enormity of the desert landscape and the sheer size of the mining operations key to the unfolding storyline.
But, as they say, never act with animals and children. Funny and heartbreaking, it’s Koko, as the wholly winning kelpie, who steals the show. The twitch of the forehead, the enquiring side shift of the head, the mournful eyes staring into the distance….
Personal rating: 3.5 stars
Red Dog
- Directed by Kriv Stenders (Boxing Day, The Illustrated Family Doctor)
- Written by Daniel Taplitz (Breakin’ All the Rules, Commandments)
- Produced by Julie Ryan (Ten Canoes, The Tracker), Nelson Woss (Ned Kelly)
- Starring Josh Lucas (Sweet Home Alabama, J.Edgar), Rachael Taylor (Transformers, Summer Coda), Noah Taylor (Shine, Charlie & the Chocolate Factory)
Keith Lawrence - Published writer of articles in magazines, newspapers and websites, predominantly on culture, alongside ghostwriter/editor/copywriter.
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