It’s the Dog That’s Racist: Discovering the Legend of White Dog

Fearing a NAACP-threatened boycott, the studio shelved the project without telling Fuller. Infuriated by Paramount’s action, Fuller moved to France and “never directed another American film.” White Dog was theatrically released in France and the U.K. to positive reviews in 1982. The first time the movie appeared in wide release in the U.S. was as an edited-for-TV movie for cable in 1983. NBC planned to broadcast White Dog in 1984, but scrubbed the plan due to continued pressure from the NAACP. At best, some people may have caught the flick in the subsequent years in art-house movie houses and at film festivals. Finally, the Criterion Collection released White Dog on DVD in 2008.

The ensuing Q&A became a fascinating discussion of why the dog would have become such a trigger for the NAACP’s fear. As Ego Trip’s Gabriel Alvarez noted, “Using the dog to symbolize racism is interesting because the dog is seen as part of family.”

One audience member said that, because of the furor surrounding the Michael Vick dog-fighting scandal, the pop consciousness around dogs and African-Americans, especially men, would drastically alter White Dog’s reception if released today — especially in light of Keys having to kill the dog at film’s end. Other audience contributions from that night:

• “The symbol of dog is ingrained into the consciousness of Black people with the civil rights movements with dogs and hoses.”
• “I remember hearing about an MLK park where some people wanted to have a dog park.  But it became a big issue along racial lines.  What I found out was Black people felt it was disrespectful to have a dog park in a park named after MLK due to the history of dogs and Blacks and violence.”
• “What the movie shows is that there’s a need to be truth and there needs to be reconciliation. What I’ve noticed is that young white people need to be aggressive with their parents regarding racism.”
• “I want to know from white people how can white people facilitate change….”
• “By creating such things as film. Yeah, the film is cheesy, but there’s also a film language that Fuller uses.”
• “What people need to do is to understand and deconstruct that the country has been founded on inequality.”

The discussion turned to how the film dealt with racism itself, a topic I engaged in with Jefferson:

Me: It was a very ’80s message film.

The moderator responded that White Dog was “straightforward” about white racism.

Me: It was straightforward because it was the ’80s. So the racism was (more) obvious, so the message was obvious. Now it’s morphed into Glenn Beckian ‘I can be racist, but don’t call me a racist.’

Jefferson: Stylistically, it’s very 80s. But it was ahead of its time. Fuller’s career was interesting. He was known for a lot of B movies but tried to sneak in social issues. Yes, it’s 80s exploitation, but there are powerful moments, like the child getting whisked away while the dog is hunting.

Me: But saying that it’s very 80s isn’t a slag, but a simple observation.

After the Q&A, I shared my opinion with Gabriel that every decade has a “message” film about racism that is reflective of not only of time period stylistically, but also where ideas about racism were and are. The 80s had White Dog and John Sayles’ Brother from Another Planet. The 90s had John Sayles’ Lone Star, Anthony Drazan’s Zebrahead, and Tony Kaye’s American History X. All of them were “race message films” that were very much of their time.

Exiting the theater that night, I noted the strange irony — and hope – of the series being housed in an indie theater located in the nexus of white-gentrifying Harlem. Perhaps this series is a good tonic, if not a great meeting point, for whites and the PoCs left in Harlem to gather to talk about the transitioning nabe and how well-off whites gentrifying it isn’t simply viewed as a “the neighborhood changing” so much as a blithe takeover, fortified by unaddressed white privilege, of a perceived spiritual and physical home of some Black people and our allies in the US and the world. However, considering that two white couples who came to watch the flick left as soon as the film was over—and, as a result, tipped the Q&A audience to majority people of color. We’ll see.

The Maysles Cinema crew wants to take their “I See White People” series on tour. Next stop: Brooklyn, NY.

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