Buck isn’t made for this life of satisfied, man-made excess and quiet exploitation, and these humans are incapable of understanding the ways of nature that drive their dog. Something’s got to give.It is by getting captured by much more brutally inconsiderate humans that Buck begins his journey toward his natural self: The ruthless men teach Buck the “law of the club and fang,” beating him into obedience and reinstating in his mind a clear difference between man and dog. It’s not a subtle lesson, but this drastic approach hints at how strongly London felt about the usurpation of nature by man:
Whether it is done softly through treats and shelter, or violently with chains and clubs, man’s taming of a dog is always a perversion. And it’s by having Buck “played” by Terry Notary (the ape-man in Ruben Ostlund’s The Square) through motion-capture in an entirely computer-generated landscape that Sanders makes his audience connect with nature, too. Unlike Tom Hooper with his giant prop spoons and dinner tables, Sanders and his expert team of designers recreated the Yukon forests and snowy mountains through CGI, the better to emphasize their cinematic beauty.
It’s a risky bet: A recent iteration of Sonic the Hedgehog had human features that were all too human, and the recent actually-not-live-action Lion King remake didn’t improve on the original’s fantastic hand-drawn visuals. But The Call of the Wild’s modern tactic resonates with a less cynical, more profound self-awareness. By employing advanced virtual technology to depict the über-natural, the film maintains a respectful and admirative distance from this endangered world—CGI can at once enhance the thrilling beauty of northern lights or the shocking speed of a dog sled charging through snow, while at the same time avoid damaging the real terrain of Northern Canada.
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