Harry and the HendersonsThe legend of the "Bigfoot" has been a perennial favorite in tabloid newspapers, an unsolved mystery purported to link man and animal. Most believe that Bigfoot, also known as "Sasquatch", is a mere myth of the Pacific Northwest, designed to drum up publicity and intrigue; but what if he were real. Moreover, what if he were friendly and gentle, even lovable? That is the basic premise of Harry and the Hendersons, a family film about the primitive missing link, and his misadventure following a car accident, leading him to be taken in by the Henderson family of Seattle, Washington.
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From the start, our introduction to the Hendersons identifies them as a quintessential middle-class family, coming home from their hunting trip in the mountains. They have their own idiosyncrasies; the father, George Henderson (John Lithgow), is a bit arrogant, and tries to raise his son, Ernie (Joshua Rudoy), in the fashion his father (M. Emmet Walsh) raised him: to be a fierce hunter, and put aside sentimental and sensitive things. But George has a hobby that belies his apparent passion for hunting: he sketches, and deep down has always preferred his artistic side to his alpha male facade. This isn't evident at first; it only really emerges following his harrowing experience with Bigfoot. Prior to this, George is convinced that after he accidentally hits the sasquatch with his car, that he can turn a buck by exploiting it in some way, and thus he takes it home against better judgment. George works a day job in a hunting supply store, where the macho posturing of his dad and co-workers gets under his skin, but one suspects that he's simply tolerated it for so long that he's convinced that's the way he's supposed to act as a male. He pretends he's too proud to wear sunglasses en route home, even when the sun glares in his eyes, ultimately causing the fated car accident with the sasquatch. He refers to the Bigfoot as a "dumb animal", more concerned with the welfare of his vehicle--a classic car and status symbol as a family man and provider--than with the welfare of the creature he struck. George's house is adorned with the trophies of his kills--mounted heads from deer and rams, for instance--which offends the Bigfoot once he comes to his senses and invades the Henderson homestead, disoriented from his dislocation from the forests of Washington state. Even when George opts to bring his chance quarry home with him, it is done solely out of greed. At the end of his rope, George readies his gun against Harry, the large "monster" in his sights; but something gives him pause. When he sees the gentle eyes of the large being, he sees not just an animal, but a person--someone not something--and George realizes a lot in this simple moment which propels him on the path to redefine his perception of masculinity and tolerance, accepting Harry as a person, even a member of the family...albeit one desperately in need of a bath. In turn, Harry teaches George about sympathy and compassion by his manner and character, awakening a deep concern and appreciation for life which was threatened to be stamped out by his closed-off father.
The Hendersons struggle to adapt to the presence of Harry in their lives, and to hide his presence from others like their nosy neighbor, Irene (Lainie Kazan), all while trying to contain his wild instincts while he is forced to reside in their house, which gets battered by the giant effortlessly. They introduce Harry to the family pet, a yappy Jack Russell Terrier named Little Bob, who accidentally nicks Harry's hand, requiring the motherly touch of Nancy Henderson (Melinda Dillon) to blow on the wound after applying stinging iodine, one of her contributions into subconsciously accepting Harry into their family. George's last effort to potentially reap some profit off of Harry's presence--teaching him how to sit--goes over hysterically poorly, but is an introduction to how the Hendersons begin to acknowledge Harry; first like a pet, but later, much more like a person. When George finally acknowledges that Harry must return to the wild for his own safety, he misunderstands the attempt and flees on his own, which ends up provoking a series of Bigfoot sightings across the Seattle area, and creating an anxious mob frenzied to defend themselves against the looming beast. George's drawings are commissioned by his dad to fuel sales for firearms, but George discovers that he cannot in good conscience produce a vicious representation of the Bigfoot, now that he knows him as a person; he aptly opines that to do so would be like drawing a wanted poster for his best friend. The style of George's drawing also lends itself to a rather clever end credit sequence, reflecting George's reawakened sensitivity and humanity in the face of the once misunderstood Harry. The tension for securing Harry's safety escalates when he is tracked into the city by famed big game hunter, Jacques LaFleur (David Suchet), who obsessively hunts the Bigfoot, and tries to rekindle the drive to do so in his former associate, now curator of the combination "North American Museum of Anthropology" and roadside gas station, Dr. Wallace Wrightwood (Don Ameche), who has since lost the thrill of the mystery of the Sasquatch. When George comes looking for answers to better understand Harry, he visits Dr. Wrightwood, who intrigues him as an unlikely advocate for the beast, and whose passion to see good done for Harry brings out the real interest in cryptozoology which had since been repressed, much as George's humanity had before Harry became a part of it. It is then ironic that the missing link between man and animal is what promotes feelings of humanity once again in those in whom it had been drowned out by social stigma.
Harry and the Hendersons is a family film, although it is filled with some intense moments, like when Harry seems to resurrect on the roof of the Hendersons' car, his face finally revealed, screaming in the windshield, only to be flung into the road a second time. Or when he miraculously resurrects yet again, and invades the Hendersons' house, George drawn back from the garage with his flashlight, believing he hears the sounds of a prowler within the kitchen. When he slips and the flashlight spins around the kitchen, it casts a huge shadow on the wall, making the behemoth appear even more massive. Rapid cuts between it and George's terrified face finish with the full immense form of Harry, hovering over the toppled fridge, howling at George. But even these scarier moments are diffused with comedy, often shortly thereafter, creating a kind of cathartic effect, like when Sarah Henderson (Margaret Langrick) lashes out in frustration following the huge intruder eating her birthday corsage. Many comical moments come from Harry reacting to suburban life, or others in suburbia reacting to him. Take the absolutely hilarious scene with the hot tub and the chicken soup, as Harry's attention is rapidly drawn back and forth between the two events, rendering him baffled. Or when Irene presumes that the snooping LaFleur has vandalized her roses, and she confronts him on the steps of the Henderson house, only to catch her first glimpse of Harry through the window at the same time. But perhaps the most perfect bit of comedy is when LaFleur is in hot pursuit of the Hendersons and Dr. Wrightwood as they attempt to navigate traffic to get Harry to his new sanctuary, and Harry mimics a police siren to evade the relentless hunter. Harry--played by Kevin Peter Hall--was designed by famed special effects wizard, Rick Baker, whose work has been representative of some of cinema's most fantastic puppetry and makeup. Harry is amazingly expressive, which is crucial for conveying the missing link between us and the animal kingdom, and in underscoring that Harry is more than an animal (or a special effect), but that he is a person; and Harry and the Hendersons shows that understanding a person is the key to success in any society.
Recommended for: Fans of a comical and technically accomplished family film, which makes a case for tolerance and sympathy for all creatures great and small.
The Hendersons struggle to adapt to the presence of Harry in their lives, and to hide his presence from others like their nosy neighbor, Irene (Lainie Kazan), all while trying to contain his wild instincts while he is forced to reside in their house, which gets battered by the giant effortlessly. They introduce Harry to the family pet, a yappy Jack Russell Terrier named Little Bob, who accidentally nicks Harry's hand, requiring the motherly touch of Nancy Henderson (Melinda Dillon) to blow on the wound after applying stinging iodine, one of her contributions into subconsciously accepting Harry into their family. George's last effort to potentially reap some profit off of Harry's presence--teaching him how to sit--goes over hysterically poorly, but is an introduction to how the Hendersons begin to acknowledge Harry; first like a pet, but later, much more like a person. When George finally acknowledges that Harry must return to the wild for his own safety, he misunderstands the attempt and flees on his own, which ends up provoking a series of Bigfoot sightings across the Seattle area, and creating an anxious mob frenzied to defend themselves against the looming beast. George's drawings are commissioned by his dad to fuel sales for firearms, but George discovers that he cannot in good conscience produce a vicious representation of the Bigfoot, now that he knows him as a person; he aptly opines that to do so would be like drawing a wanted poster for his best friend. The style of George's drawing also lends itself to a rather clever end credit sequence, reflecting George's reawakened sensitivity and humanity in the face of the once misunderstood Harry. The tension for securing Harry's safety escalates when he is tracked into the city by famed big game hunter, Jacques LaFleur (David Suchet), who obsessively hunts the Bigfoot, and tries to rekindle the drive to do so in his former associate, now curator of the combination "North American Museum of Anthropology" and roadside gas station, Dr. Wallace Wrightwood (Don Ameche), who has since lost the thrill of the mystery of the Sasquatch. When George comes looking for answers to better understand Harry, he visits Dr. Wrightwood, who intrigues him as an unlikely advocate for the beast, and whose passion to see good done for Harry brings out the real interest in cryptozoology which had since been repressed, much as George's humanity had before Harry became a part of it. It is then ironic that the missing link between man and animal is what promotes feelings of humanity once again in those in whom it had been drowned out by social stigma.
Harry and the Hendersons is a family film, although it is filled with some intense moments, like when Harry seems to resurrect on the roof of the Hendersons' car, his face finally revealed, screaming in the windshield, only to be flung into the road a second time. Or when he miraculously resurrects yet again, and invades the Hendersons' house, George drawn back from the garage with his flashlight, believing he hears the sounds of a prowler within the kitchen. When he slips and the flashlight spins around the kitchen, it casts a huge shadow on the wall, making the behemoth appear even more massive. Rapid cuts between it and George's terrified face finish with the full immense form of Harry, hovering over the toppled fridge, howling at George. But even these scarier moments are diffused with comedy, often shortly thereafter, creating a kind of cathartic effect, like when Sarah Henderson (Margaret Langrick) lashes out in frustration following the huge intruder eating her birthday corsage. Many comical moments come from Harry reacting to suburban life, or others in suburbia reacting to him. Take the absolutely hilarious scene with the hot tub and the chicken soup, as Harry's attention is rapidly drawn back and forth between the two events, rendering him baffled. Or when Irene presumes that the snooping LaFleur has vandalized her roses, and she confronts him on the steps of the Henderson house, only to catch her first glimpse of Harry through the window at the same time. But perhaps the most perfect bit of comedy is when LaFleur is in hot pursuit of the Hendersons and Dr. Wrightwood as they attempt to navigate traffic to get Harry to his new sanctuary, and Harry mimics a police siren to evade the relentless hunter. Harry--played by Kevin Peter Hall--was designed by famed special effects wizard, Rick Baker, whose work has been representative of some of cinema's most fantastic puppetry and makeup. Harry is amazingly expressive, which is crucial for conveying the missing link between us and the animal kingdom, and in underscoring that Harry is more than an animal (or a special effect), but that he is a person; and Harry and the Hendersons shows that understanding a person is the key to success in any society.
Recommended for: Fans of a comical and technically accomplished family film, which makes a case for tolerance and sympathy for all creatures great and small.