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Movie Review: Big Red

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Based on Jim Kjelgaard’s 1945 novel of the same name, Disney’s Big Red was theatrically released on June 6, 1962. The live action nature drama is eighty-nine minutes in length. Big Red is essentially a poor man’s version of Old Yeller (1957), emotional ties between a young boy and a dog being the main plotline in both films.

Plot Summary

At a dog show in Montreal, James Haggin (Walter Pidgeon), the owner of an estate called Wintapi elsewhere in the province of Quebec, purchases for $5,000 an Irish Setter named Big Red, which Haggin plans to train for a forthcoming dog show in New York City. Back at Wintapi, while Haggin is hunting with his handler, Emile Fornet (Emile Genest), Big Red sprints past the duo, followed by a young boy named Rene Dumont (Gilles Payant). Dumont, an orphan whose uncle has recently passed away and whose first language is French, explains to the perplexed men that he is looking for work and that he released Big Red from his cage near the men’s respective houses because the dog’s paw was caught in the cage’s wiring. Haggin instantly hires Dumont to work with Fornet as an assistant dog handler, and the boy enthusiastically engages himself with Haggin’s many canines while also laboring to perfect his English.

Unfortunately for all parties, however, Big Red becomes so attached to the lad that the canine refuses to follow orders from Haggin, a serious problem considering the upcoming competition in New York. Desperate to correct the situation, Haggin forbids Dumont from working with Big Red until the show. The rule fails to prevent interactions, however, and when Dumont attempts to run back to his bed in Fornet’s house after saying goodbye to Big Red through the backdoor of Haggin’s residence, Big Red daringly jumps out of Haggin’s kitchen window, shattering the window’s glass and severely injuring himself in the process. Now, in addition to being unfit for a dog competition, Big Red is so badly injured that Haggin orders Fornet to put the dog to sleep. With the dog’s life on the line, Dumont hastens Big Red out of the house and brings him to his late uncle’s abandoned cabin, about twenty-five miles north of Haggin’s house. Away from Haggin and Fornet, can Dumont nurse Big Red back to health? Furthermore, can the boy survive in the wilderness with no adult care?

Responsibility

Responsibility is the major theme of Big Red . The title canine, Dumont, and Haggin deal with related pressures throughout the film.

Big Red struggles to prove to Haggin that Irish Setters have not, in fact, “lost their most important point, [their] sense of responsibility,” that they are worth more than a blue ribbon and prize money from a dog show. The results of Big Red’s efforts are shown in the movie’s closing moments.

In tandem with Big Red, Dumont undertakes his own quest for responsibility. Undeterred by the loss of his uncle, the orphan strives to make himself “useful” to society. To this end, Dumont seeks out work; diligently studies his reader to learn English; tirelessly trains Big Red; and admits to and learns from his mistakes, never blaming others for his own errors.

Finally, in contrast to his outwardly cold personality, Haggin demonstrates genuine concern for Dumont’s welfare. Upon learning that Dumont has not been seen in two weeks, Haggin hastens after the lad and thereafter makes plans to care for the child and provide for the youth’s formal education.

Determination

Another major theme of Big Red is determination. Guided by childhood innocence, Dumont never loses hope concerning the fate of the title dog, nursing him back to health when Haggin deems him incurable and embarking on a mission to the depths of the forest to find Big Red and his female companion, Molly, after they escape from a baggage car on the train between Wintapi and Montreal. This escape having occurred two weeks prior, the railroad baggageman (Georges Bouvier) deems Dumont’s goal “impossible,” but the lad disagrees.

Characterization

Big Red would have been more enjoyable with better character development. The relationships among Haggin, Dumont, and Big Red are meant to be heartwarming, but Haggin lacks sufficient depth for the story to become truly emotional. Haggin, his rough demeanor notwithstanding, clearly cares about Dumont’s welfare, but the boss is never superficially likeable.

Haggin’s gruff personality may have arisen from personal tragedy, a possibility that is hinted at several times during the film. In one scene, for example, Fornet’s wife, Therese (Janette Bertrand), tells Haggin that “one should never be alone, even when one has great wealth, big house…one must forget that which is past, one must go forward.” Later, after Haggin decides to sell Big Red and Molly and bluntly tells Therese that the situation is “a closed subject,” Mrs. Fornet somberly glances at a photograph of a man in uniform and laments, “there are many closed subjects in this house.” If Haggin indeed endured a personal tragedy, any exploration of this subplot would have allowed viewers to become emotionally attached to Haggin.

My complaints about Haggin’s character, it should be noted, do not extend to Pidgeon’s performance, which is excellent. In fact, all of the actors in Big Red give solid performances; cringeworthy moments or scenes of unintentional comedy are not the norm here. Pavant’s performance is the weakest of the bunch, but his occasional awkwardness can be rationalized by Dumont’s efforts to translate his native French into English.

Besides characterization, the film could have been improved had stronger scenes of peril been incorporated. Old Yeller is in part so emotional because the title dog’s life is overtly threatened. So serious a threat never arises in Big Red , the window incident occurring too early in the film to afford the viewer thoughts about the canine dying, and an exciting scene involving a mountain lion at the end of the movie being quickly resolved with no harm to the major players. Furthermore, although Dumont wanders alone in the wilderness, he never loses command of his poise such as to hint that his life is truly endangered.

Big Red offers plenty of openings for a sequel should Disney decide to make one. Haggin’s past; Dumont’s subsequent life with Haggin; preparations for future dog shows; stories about the Fornets; and exploits by Haggin’s obnoxious neighbor, Farmer Mariot (Doris Lussier), could serve as plotlines for a potential Big Red sequel.

Occasionally breathtaking views of the sprawling Canadian countryside rank among Big Red ’s strengths. The scenes at Wintapi were clearly constructed in a studio, but this artificiality does little to hamper the generally authentic feel of the effort.

Richard and Robert Sherman, the legendary songwriting brothers who were named Disney Legends in 1990, wrote a heartwarming theme song, “Mon Amour Perdu,” for Big Red . The song is performed lyrically early in the film as the Fornets and Dumont relax in the kitchen and instrumentally, including via Dumont’s harmonica, elsewhere. This number is not nearly as memorable as some of the Sherman Brothers’ more famous songs, such as “Ugly Bug Ball” from Summer Magic (1963) and “Chim-Chim-Cheree” from Mary Poppins (1964), but it serves its purpose well.

Funny moments are sprinkled throughout Big Red . Along the way, Mr. Fornet reminds Dumont to put his belt back on such that the lad’s “trousers do not descend”; Dumont playfully bows to Big Red like a subject would bow to his king; Dumont leads Big Red to his cage through a back door; Mr. Fornet plays a spoon while Dumont plays the harmonica; Haggin, annoyed at Therese’s pestering, playfully tells his worker’s wife “Therese, you know something? I should have gotten rid of you five years ago, before you learned to cook”; the baggageman reluctantly agrees to imitate a moose’s mating call to clear the tracks; and Mr. and Mrs. Fornet have an awkward conversation about Haggin’s decision to search for Dumont.

Relationship to Other Disney Films

Dogs also played major roles in Lady and the Tramp (1955), Old Yeller , The Shaggy Dog (1959, 2006), Nikki, Wild Dog of the North (1961), One Hundred and One Dalmatians (1961), Greyfriars Bobby (1961), The Incredible Journey (1963), The Ugly Dachshund (1966), The Biscuit Eater (1972), The Shaggy D.A. (1976), The Fox and the Hound (1981), Oliver and Company (1988), White Fang (1991), Homeward Bound: The Incredible Journey (1993), White Fang 2: Myth of the White Wolf (1994), Homeward Bound II: Lost in San Francisco (1996), 101 Dalmatians (1996), Air Bud (1997), Air Bud: Golden Receiver (1998), 102 Dalmatians (2000), Snow Dogs (2002), Beverly Hills Chihuahua (2008), and Bolt (2008).

Big Red was one of two Disney films to be named after a big color, The Big Green (1995) being the other.

Walter Pidgeon subsequently contributed to The Legend of Lobo (1962) and Rascal (1969) for Disney.

Emile Genest also contributed to Nikki, Wild Dog of the North , The Legend of Lobo , and The Incredible Journey for Disney.

In the Parks

Canada is among eleven countries to be represented by a pavilion in the World Showcase section of Epcot. A Circle-Vision 360° film, “O Canada!”; the “Le Cellier” steakhouse; and beautiful gardens are the highlights of this pavilion.

Big Red features a solid cast and a suspenseful story, but poor character development hampers the overall effort. The film has heartwarming elements, but we are ultimately not given enough incentive to care about the characters, and the level of peril never reaches sufficient heights for Big Red to favorably compare to such tear-jerking efforts as Old Yeller .

What do you think of Big Red? Let me know in the comments!

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Big Red (1962)

Directed by norman tokar.

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Description by Wikipedia

Big Red is a 1962 adventure film from Walt Disney Productions. Based on a 1945 novel by American author Jim Kjelgaard and adapted to the screen by American screenwriter Louis Pelletier, the film starred Walter Pidgeon.

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Big Red (1962)

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Clifford the Big Red Dog

I’m so happy that Clifford doesn’t talk. Watching the truly sweet and hard-to-hate “Clifford the Big Red Dog,” I pictured the version of the potential version of this story that was probably pitched in an elevator in which Clifford drops pop culture references like Poochie on “The Simpsons.” It reminded me that the approach here—empowering and heartwarming—was smarter than trying to ride any current pop culture trend, as modern family movies often do. In fact, Walt Becker ’s take on the classic children’s book reminded me of the Disney clamshell VHS tapes that were such a part of my life in the ‘80s. Like those films, it doesn’t feel overly calculated or cynical, making its flaws easy to overlook. Clifford himself is a bit ungainly and hard to control, so it’s acceptable that the movie about him has some of those same problems, and most kids won’t pause to consider how it could have been better (or ponder how much worse it would have been if the big red guy talked).

The smart and empathetic Emily Elizabeth ( Darby Camp ) is the outsider at her new prestigious New York private school. The 12-year-old is bullied by the mean girls who call her “food stamps,” but she has a gorgeous, rent-controlled apartment to return to her with her single mother Maggie ( Sienna Guillory ). When mom goes out of town on some vague paralegal business, she asks her ne’er-do-well brother Casey (a fun Jack Whitehall ), who lives in his van, to keep on eye on Emily and stay out of trouble.

Emily and Uncle Casey are walking one day when they spot an animal carnival run by the mysterious Mr. Bridwell ( John Cleese )—a nod to the author of the source material, Norman Bridwell . The Wizard of this Oz shows Emily through his tent of magical animals to a room where she meets Clifford as a small, adorable, somewhat creepily rendered puppy. For some reason, the puppy version of Clifford looks more unrealistic than the giant one. Perhaps it’s because we know what puppies should look like more than dogs who are the size of small buildings, but the puppy Clifford is a bizarre choice, a cartoonish creation that never looks like it’s sharing the same space as Emily. He’s about as believable a movie creature as Roger Rabbit.

After Clifford sneaks home with Emily, Casey tells her that she will have to return the little red guy the next day, sending the poor girl to bed wishing that something would change. She wakes up to find the Clifford that librarians know and love, a giant, expressive, joyous red dog. Casey panics and the center of “Clifford the Big Red Dog” consists of “Clifford hijinks,” as expected. They try to hide him from the grumpy super ( David Alan Grier ); he ends up at school, where he licks the mean girl into future trauma; he even saves somebody’s life. None of this is particularly memorable, but it’s also nowhere near as grating as it could have been. There’s a light touch to even the scenes with giant dog slobber. As a parent of three, I have seen more interminable family films than most non-parents probably know exist, and Becker keeps “Clifford the Big Red Dog” moving along. 

All of this Big Dog Energy catches the attention of Zack Tieran ( Tony Hale ), the vicious head of a company called Lyfegro, which wants to make things big. Why? It’s hard to say. But Lyfegro’s failed experiments include a two-headed goat and a particularly mean sheep. In the ‘20s, you can expect a lot of the family film villains to be tech and business magnates. Thanks, Mark Zuckerberg .

“I wish we were big and strong and the world couldn’t hurt us,” says Emily. It’s a line that will resonate with children who have lived through a more anxious couple years than their parents could have ever expected when they were born. And it’s indicative of the big heart of this film. Yes, some of it looks cheaply made and a few too many of the jokes will thud for parents and children, but it’s such a big-hearted film in every scene. “Clifford the Big Red Dog” is a classic story of how people respond to things that are different, but it has a warming soul that comes through when it matters. Emily gets it: “He doesn’t hurt anybody—he loves.” And he’s easy to love back.

In theaters and on Paramount Plus today.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

• David Alan Grier as Packard
• Izaac Wang as Owen Yu
• Darby Camp as Emily Elizabeth
• John Cleese as Mr. Bridwell
• Jack Whitehall as Uncle Casey
• Tony Hale as Peter Tieran
• Paul Rodríguez as Sanchez
• Horatio Sanz as Raul
• Rosie Perez as Lucille
• Kenan Thompson as Vet
• Blaise Hemingway

Writer (screen story by)

• Ellen Rapoport
• Justin Malen
• Jay Scherick
• John Debney

Writer (based on the Scholastic Book Series "Clifford the Big Red Dog" by)

• Norman Bridwell

Cinematographer

• Peter Lyons Collister
• Sabrina Plisco
• Walt Becker

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Big Red (1962)

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Directed by Norman Tokar

Wealthy sportsman James Haggin (Walter Pidgeon) lives on a Quebec estate called Wintapi. Émile Fornet (Émile Genest), handler of Haggin's hunting dogs, and Émile's wife Therese (Janette Bertrand), Haggin's cook and housekeeper, live in a separate house on the estate. To start a line of top show dogs, Haggin purchases the winner of the Montreal Kennel Club show, an Irish setter named Red.

Walter Pidgeon Gilles Payant Émile Genest Janette Bertrand Georges Bouvier Doris Lussier Rolland Bédard Teddy Burns Goulet

Director Director

Norman Tokar

Producer Producer

Walt Disney

Writer Writer

Louis Pelletier

Original Writer Original Writer

Jim Kjelgaard

Editor Editor

Grant K. Smith

Cinematography Cinematography

Edward Colman

Composer Composer

Oliver Wallace

Songs Songs

Richard M. Sherman Robert B. Sherman

Walt Disney Productions Cangary

Primary Language

Spoken languages.

English German

Alternative Titles

Compagni d'avventura, A nagy vörös kutya, Marele Roșu, Mein Freund Red, Compagnon d'aventure, El campeón, Astúcia de um Rebelde, ביג רד

Drama Adventure Action Family

Releases by Date

06 jun 1962, 02 nov 1962, releases by country.

• Theatrical PG12
• Theatrical PG

89 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Luke Thorne ★★★

Norman Tokar’s family Disney adventure in which a rich sportsman’s choice to select a backwoods orphan to exercise a champion Irish Setter has unanticipated results.

Adapted from the novel of the same name by Jim Kjelgaard, which was published 17 years earlier, the story concerns dog owner James Haggin (Walter Pidgeon) who purchases ‘Big Red’, an Irish setter, for a huge amount in hopes of making him a victor show dog. However, Big Red is disruptive and does not take to being handled.

At this point, James encounters Rene (Gilles Payant), a young boy who needs a job, and makes him Big Red's trainer. The two get along so well that James worries the dog will not listen to not…

Review by Liara KCrane ★★½ 1

This review may contain spoilers. I can handle the truth.

Very sweet film that is strikingly similar to The Incredible Journey. However unlike The Incredible Journey, in Big Red the audience actually connects to the animals. It was nice having diversity in the language acknowledged, and the setters themselves were beautiful. The best part was the boy having a ruck-sac full of setter puppies on his back! Very sweet!

Review by thesusieowen ★★★★★

Five stars for me! Cried and laughed  out  loud many times. I'm in love with these dogs. I'm exhausted after the roller coaster of adventure! And glowing from the joy that Disney brings. Le sigh.

Review by Ed_W00d ★★½

À part Best in Show , je supporte très mal les «films de chien»; je n'étais donc pas le meilleur public pour ce Disney. Le p'tit gars, dans le rôle principal, est vraiment médiocre et parle comme Maurice dans La petite Aurore, l'enfant martyre . Cependant, Janette Bertrand est mignonne et j'aime beaucoup quand le Québec joue son propre rôle dans une production américaine. Un film familial sympathique, mais avec beaucoup de longueurs et de malaises. 🐾

Review by joelnox ★★★½

Beautiful dogs, beautiful scenery, nice if sentimental story and Walter Pidgeon all add up to a pleasant picture. It's typical of early 60's Disney fare but that's not bad for anyone who likes family pictures.

Review by r96sk ★★½

It holds some charm, but 'Big Red' is mostly average.

Gilles Payant gives a likeable, if wooden, performance as Rene, while Walter Pidgeon adds a touch of elegance to the film as James. Émile Genest and Janette Bertrand are alright, too. The cast I actually like, it's just the plot and how it is told that hampers the film for me.

The onscreen dogs are adorable and their story ends in a cutesy manner, but there's not much more to enjoy past that. It's a very basic premise which is revealed in a very basic way. Nothing necessarily bad, but nothing all that good either. Forgettable, in a word.

Ranked: The Walt Disney Company Ranked: Disney Live-Action Every Rated Film Ranked // Film #1321

Review by NotASexyVamp ★★

A mediocre entry into Disney's live action depressing dog movie canon. Pidgeon and the French kid are supporting characters and we're all just here to see cute Irish Setters which are indeed adorable. The fight with the mountain lion is cool, even though (because I'm more of a cat person) I found myself rooting for the big kitty. Still, I prefer the shocking gut punch of Old Yeller.

Review by Tyler O'Connor ½

I advise you not to watch this film unless you are looking to have a nap. Borefest

Review by Cheyenne Thornton ★★½

Do y’all wanna know why nobody finishes these challenges? Finding these movies are IMPOSSIBLE. It took me two weeks to watch this movie amid the popups and ads on the sketchiest site ever. I ALMOST caved and rented it. 

Anyways this was cute or whatever. Disney was freaking obsessed with dog stories. The first half was rough but it picked up near the end. There was also the strangest moose side storyline in the second half. I love me a good heartwarming ending though. And it’s an extra half star better than Bon Voyage because it actually had a PLOT

I teared up a little but if you confront me, I’ll deny it

Review by ON THE BRINK ★★★

6/10 Big Red is a pleasant picture but it is a slow moving one. Animal lovers alike will eat this one up. It’s cute and a good family drama but it’s not the most memorable film by any means.

Review by Eddy of the JPEG ★★

Review by Mike Natale ★★★

Man, Disney really went all in on the "boy and his dog" movies in the early 60s, huh?

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Clifford the big red dog.

• Common Sense Says
• Parents Say 21 Reviews
• Kids Say 27 Reviews

Common Sense Media Review

Sweet if unsurprising adaptation promotes teamwork.

Parents Need to Know

Parents need to know that Clifford the Big Red Dog is, like the animated TV show, based on the classic children's book series about an oversized red pup and his sweet human friend, Emily Elizabeth. In this adaptation, Emily (Darby Camp) is a lonely New York City middle schooler who's been left in the care of…

Why Age 6+?

A brief brawl includes people using a Taser, punching one another, slapping. Cha

Emily is cruelly taunted as "Food Stamps" by her wealthy classmate, who also say

Apple MacBook, Honey Comb cereal. Clifford has a lot of off-screen tie-in mercha

Any Positive Content?

Encourages compassion, empathy, and teamwork (Emily, her uncle, and Owen have to

Emily is kind, generous, thoughtful. She's attentive to Clifford. Owen is a loya

Main character Emily Elizabeth and her family are White (as is the villain). Her

Intended to entertain rather than educate, though there are lessons about friend

Violence & Scariness

A brief brawl includes people using a Taser, punching one another, slapping. Characters are chased/pursued. Clifford runs into a Zorb ball that has a person inside. Because of his size, Clifford's puppy behavior can be perceived as aggressive at first, and he does wreck/destroy stuff in his enthusiasm. Oversized Clifford's pee splatters in a dramatic way. Some tense words.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Emily is cruelly taunted as "Food Stamps" by her wealthy classmate, who also says she's the "biggest nobody at school." Potty humor includes "nut hole" and "butthole," as well as "screwing stuff up," "freak," and a jokey comment about Owen being an "Asian Oliver Twist." "Oh my God," "Oh God," and "Oh Lord" used as exclamations.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Apple MacBook, Honey Comb cereal. Clifford has a lot of off-screen tie-in merchandise.

Positive Messages

Encourages compassion, empathy, and teamwork (Emily, her uncle, and Owen have to work together to keep Clifford safe). Promotes importance of caring about others and protecting animals from cruelty.

Positive Role Models

Emily is kind, generous, thoughtful. She's attentive to Clifford. Owen is a loyal friend. Uncle Casey, although initially immature and irresponsible, learns to be more reliable. Emily's neighborhood friends all team up to help her and Clifford. It's somewhat confusing that the head of a company that aims to feed the world is written as nefarious and manipulative.

Diverse Representations

Main character Emily Elizabeth and her family are White (as is the villain). Her best friend, Owen, is Asian but could be construed as supporting the "nerdy Asian sidekick" stereotype, which he jokes about; he's also super rich. Emily has a single mother who works hard to care for her daughter. Neighborhood residents/supporting characters are diverse.

Did we miss something on diversity? Suggest an update.

Educational Value

Intended to entertain rather than educate, though there are lessons about friendship and teamwork.

Parents need to know that Clifford the Big Red Dog is, like the animated TV show , based on the classic children's book series about an oversized red pup and his sweet human friend, Emily Elizabeth. In this adaptation, Emily ( Darby Camp ) is a lonely New York City middle schooler who's been left in the care of her immature Uncle Casey ( Jack Whitehall ) while her mom is out of town. After attending an animal rescue event, Emily ends up with a cute little red puppy, who quickly grows into a massive dog. Emily and her 10-foot-tall canine proceed to have outsized adventures that include collateral damage and a bit of action (a brief brawl, a chase, the use of a Taser, a group of angry and protective neighbors), threats from a villain who wants Clifford for himself, and occasional bathroom humor (Clifford's huge size makes his toots, pee, and poop supersized, too). Insult language includes "freak," "nobody," and calling someone "Food Stamps." The movie deals with issues related to class and isolation; while most main characters are White, Emily's neighbors are diverse, as you'd expect in a city tale, and her one good friend is Asian. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parent and Kid Reviews

• Parents say (21)
• Kids say (27)

Based on 21 parent reviews

Good Teaching Tool

I’m honestly no prude but wow. not appropriate content for a kids movie, what's the story.

CLIFFORD THE BIG RED DOG is the first live-action adaptation of the classic children's book series by the late Norman Bridwell -- books that were previously turned into a popular animated TV show aimed at preschoolers. This version, directed by Walt Becker , sticks with Clifford's origin story. Emily Elizabeth ( Darby Camp ) is a middle schooler who seems like the poorest and loneliest girl at her posh Manhattan private school. Emily is left in the care of her irresponsible, immature Uncle Casey ( Jack Whitehall ) when her mom, Maggie ( Sienna Guillory ), leaves for a business trip. After coming across Bridwell's Animal Rescue -- a tent of animals up for adoption in Central Park -- Emily instantly connects with an adorable cherry-red puppy. Later, Emily realizes the puppy has somehow been placed in her backpack by the mysterious Mr. Bridwell ( John Cleese ). Overnight, Clifford the pup becomes supersized, creating a huge challenge for Emily, who wants to keep him at all costs, and Casey, who can barely take care of himself, much less his niece's enormous new pet. Then, when news about the giant red dog hits social media, Tieran ( Tony Hale ), the CEO of a company called Lyfgro, makes plans to steal Clifford to use whatever made him so big to help food become supersized.

Is It Any Good?

This crowd-pleasing, if uneven, adaptation of Bridwell's beloved classic books is saved by the sweetness of its story about a girl who loves her very big red dog. There was a moment, when the movie's teaser trailer first came out, when it looked like this version of Clifford would be stuck in the creepy awkwardness of the uncanny valley. Thankfully, the final film is better -- and cuter -- than expected. Emily's bond with the red puppy is easy for any pet lover to understand. Camp does a fine job of gazing lovingly at a CGI creation, and her apartment's neighborhood is believably diverse and ready to band together to save one of their own. While it seems unlikely that Emily would get so unreservedly and openly harassed by the rich mean girls at her school, her friendship with quirky classmate Owen (Izaac Wong) is cute and built upon their shared sense of "otherness" (hers based in class, his based on being Asian and nerdy).

Where the movie struggles is the script, which is credited to Jay Scherick, David Ronn, and Blaise Hemingway. For example, why is the movie's villain the CEO of a company whose mission seems positive (feeding the world)? That's more than a bit confusing for younger viewers, who won't understand the morally ambiguous position that Big Agra holds in society. And some of Uncle Casey's one-liners and conversations with Emily are also questionably immature. There are also directorial questions, like why the British Whitehall (unnecessarily) uses his American accent while his sister Maggie is English (it's explained in a throwaway line, but it still doesn't make much sense). Despite those flaws, the story is undeniably tenderhearted, and Clifford is such a delightful dog that even cynical parents will understand why Emily's heart melts for him.

Talk to Your Kids About ...

Families can talk about the continued popularity of classic children's books and shows. What are some other books or kids' programs you wish would get adapted into a movie? Is there a new generation of fans for Clifford?

How do the characters demonstrate compassion , empathy , and teamwork ? Why are those important character strengths ?

How do you think this live-action version of Clifford compares with the picture book and TV versions of Clifford ? Do the story's changes make sense? Do you like how the characters were adapted into a live-action movie, or would you have preferred another animated feature?

Were any parts of the movie scary to you? How much scary stuff can young kids handle?

Movie Details

• In theaters : November 10, 2021
• On DVD or streaming : February 1, 2022
• Cast : Darby Camp , Jack Whitehall , Izaac Wang , Tony Hale
• Director : Walt Becker
• Inclusion Information : Female actors, Asian actors
• Studio : Paramount Pictures
• Genre : Family and Kids
• Topics : Book Characters , Cats, Dogs, and Mice , Friendship , Middle School
• Character Strengths : Compassion , Empathy , Teamwork
• Run time : 97 minutes
• MPAA rating : PG
• MPAA explanation : impolite humor, thematic elements and mild action
• Last updated : August 8, 2024

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‘clifford the big red dog’: film review.

Based on the children's book series by Norman Bridwell, the family film centers on a young New Yorker whose tiny new puppy grows to be 10 feet tall overnight.

By Angie Han

Television Critic

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It may seem like damning with faint praise to suggest that the reason Clifford the Big Red Dog succeeds as well as it does is that it doesn’t try to do too much in the first place. It’s not reinventing the wheel or breaking new ground; it’s unlikely to wow audiences with its bold artistic vision or profound emotional depths. But there’s a place for sturdy and familiar entertainment that delivers exactly what it intends, and Clifford the Big Red Dog is just that.

As in the Norman Bridwell books it’s based on, the film’s entire plot essentially boils down to “what if a dog were bright red and enormous?” Though he’s adopted as a tiny pup by a preteen New Yorker named Emily Elizabeth (Darby Camp), her outsize love for him turns him 10 feet tall overnight. Refreshingly, that’s about as much justification as we get for both his color and his stature. The screenplay (credited to Jay Scherick, David Ronn and Blaise Hemingway) avoids the overachiever pitfall of trying to explain stuff that’s more satisfying left alone.

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Release date: Wednesday, Nov. 10 Cast: Jack Whitehall, Darby Camp, Tony Hale, Sienna Guillory, David Alan Grier, Russell Wong, John Cleese Director: Walt Becker Screenwriters: Jay Scherick, David Ronn, Blaise Hemingway

The film clears, with only a little bit of difficulty, its most obvious hurdle — namely, the fact that it’s one thing for Clifford to be as red as a fire engine and as tall as a house in brightly illustrated children’s books, but another for him to look that way in “live action” (really, the kind of high-tech animation that’s meant to look like live action). In practice, though, Clifford’s scale renders him so fantastical that he might as well be Bumblebee from Bumblebee or Elliot from Pete’s Dragon . He’s “realistic”-looking enough to blend into his shot-on-location surroundings, but not so much so that he’s alarming to behold. If anything, he’s creepier looking when he’s pigeon-size but proportioned like a much larger animal.

Besides, Clifford the Big Red Dog establishes a world where it more or less scans that an enormous excitable puppy would be a fun new friend rather than a terrifying threat. The elegant illustrations and John Cleese’s warm voiceover that open the movie establish Manhattan as “an island full of wonder,” where a girl might wander into a pop-up animal adoption tent run by a Mary Poppins-ish proprietor (Cleese) and be matched with the magical pet she never knew she needed. Though the ever-present laptops and iPhones place the movie in the present day, Clifford the Big Red Dog ‘s low-key whimsy feels like it could have come from any time in the past 30 years.

At the same time, it’s free of the cloying preciousness that mars too many kids’ films. Emily Elizabeth is believably tween-age, better at trying to sound precocious (she drops words like “abysmal” and “atrocious” when complaining about school) than she is at actually acting wise beyond her years. Her emotional journey is a mild one — Clifford’s sad-puppy eyes provoke coos, not Pixar-level crying jags. But it fits the story unfolding onscreen, which isn’t above mustache-twirling villains like Tony Hale’s greedy biotech CEO, or potty humor about Clifford’s oppressively smelly farts. (Thankfully, the film spares us the sight of what one can only assume must be couch-size turds.)

The film’s real secret weapon, however, isn’t much of a secret at all: It’s first-billed star Jack Whitehall, as Emily Elizabeth’s well-meaning but irresponsible uncle. Emily Elizabeth may be the protagonist and Clifford the premise, but Whitehall’s Uncle Casey is the glue holding the entire operation together. His performance sets the film’s tone (playful but not frenzied) and calibrates the audience’s reactions (perplexed but not horrified). He turns just-OK jokes into laugh-out-loud ones with his loose and spontaneous delivery.

While Casey does, from time to time, shake his head at the absurd situation he’s found himself in, Whitehall never once winks to convey he knows it’s all nonsense. We buy into the film’s magic because he sells it so smoothly. As spells go, it isn’t a particularly rare or elaborate one. But it’s enchanting enough to merit a smile.

Full credits

Distributor: Paramount Pictures Production companies: Entertainment One, Kerner Entertainment Company, Scholastic Entertainment, New Republic Pictures, Walden Media Cast: Jack Whitehall, Darby Camp, Tony Hale, Sienna Guillory, David Alan Grier, Russell Wong, John Cleese Director: Walt Becker Screenwriters: Jay Scherick, David Ronn, Blaise Hemingway Screen story by Justin Malen, Ellen Rapoport Based on the books by Norman Bridwell Producers: Jordan Kerner, Iole Lucchese Executive producers: Brian Oliver, Bradley J. Fischer, Valerii An, Brian Bell, Caitlin Friedman, Deborah Forte, Lisa Crnic Cinematographer: Peter Lyons Collister Production designer: Naomi Shohan Costume designer: Susan Lyall Editor: Sabrina Plisco Composer: John Debney Casting directors: Sig De Miguel, Cathy Sandrich Gelfond, Amanda Mackey, Stephen Vincent

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Clifford the Big Red Dog Review

While it's no paddington, clifford the big red dog is a whimsical way to spend 90 minutes..

Clifford the Big Red Dog hits cinemas and Paramount Plus on Nov. 10.

From the outset, it's clear that Clifford the Big Red Dog probably wouldn't exist without the charming crossover success of Paddington . Both films attempt to adapt iconic kids characters for the big screen and feature unexpected creatures going on fish-out-of-water journeys in whimsical city settings. While Clifford the Big Red Dog has lofty dreams, it never quite reaches the charming heights of Paddington. But it does offer up a whimsy-filled and easy-to-watch kids movie that will likely entertain the youngest of us and, most importantly, those who can get over the uncanny valley of Clifford himself.

The story starts as so many do: in a big city. New York, to be precise. There, Emily Elizabeth (Darby Camp) lives in a fairytale apartment adorned with murals, under the care of her harried but loving single mother, Maggie (Sienna Guillory). Her block is filled with eccentric and caring neighbors. When Maggie is called away to another city by her job, Emily is left with her irresponsible and often gross uncle, Casey (Jack Whitehall). In classic terrible movie uncle style, Casey takes her to a magical animal rescue tent run by the sharply dressed yet ominous Mr. Bridwell (John Cleese). Soon, the pair are the carers of a seemingly tiny -- and scarily animated -- red labrador puppy. When Emily wishes he was big enough so no one could separate them, she wakes up to the giant red dog that every child knows and loves. Here, though, he's not charmingly illustrated, but instead a hyperreal-looking CGI creation. At first, the CGI puppy is not a particularly pleasant sight.

Luckily for Clifford himself and the movie, the uncanny valley is far worse in the short amount of time that he's small. In his large version, he's far cuter and less menacingly proportioned. It also helps that Camp is a ball of charm and sweetness. Anyone who's seen her work in Big Little Lies will know she's got the chops to carry a hefty storyline, but she's just as talented at comedy. Even in the face of a giant digital dog, her performance is believable and, more importantly, watchable. Her young on-screen co-star Izaac Wang -- who plays her friend from school, Owen -- is also great. Together, they make a pair you can root for as the inevitable threat of an evil corporation, led here by Tony Hale as Tieran, comes into play.

Which of these movie dogs is the goodest boy (or girl)?

Clifford, Emily, and Owen often outshine the core cast of adults. Whitehall seems like a particular mismatch, playing Casey as more of a grimy frat boy than a struggling illustrator. At one point we even see him put hand sanitizer down his pants before a job interview... which is not the film's finest moment. As Casey, Whitehall brings an outdated gross-out comedy element to a movie that's at its best when it leans into the magical. A great example of this is the ease with which New Yorkers accept Clifford, something that's key to the original stories and the film. This is a world where a city will come together to protect a giant red canine while supporting and protecting the little girl who loves him. Whitehall's Casey upends those fun, powerful, and kind moments, going for broad comedy relief that misses more often than it hits.

There's a certain amount of butt sniffing and general butt-focused jokes that come with making a kids movie about a giant dog, and if that's what you're here for, then Clifford the Big Red Dog delivers. It swerves between thoughtful writing about friendship and the role of neighborhood community to jokes about taking Clifford's temperature, and we're not talking orally. That mishmash will likely stop the film from going down in family movie history, but it will also engage adults just enough and make small kids laugh a lot. There's also a couple of unexpected cameos from folks like Rosie Perez and Kenan Thompson.

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Although it definitely takes from stronger movies like the aforementioned Paddington, and Bong Joon Ho's brilliant environmental fable Okja , Clifford the Big Red Dog puts a solid focus on the concept of coming together and friendship, which makes it feel a little less derivative. Even so, it never comes close to either of those big hitters and is definitely more of your standard kids comedy fair. Saying all that, though, if you've got a couple of kids running around who want some laughs and like animals, you could definitely do worse than putting on Clifford the Big Red Dog. After all, kids are never too young to learn that corporations are evil and community is everything! Thanks, Clifford.

Working as a sort of pre-school mashup of Paddington and Okja, Clifford the Big Red Dog is a serviceable and silly kids film. It's at its best when it leans into kindness and community, and struggles when it tries for big comedy moments. But if you've got a little one then they'll likely find something to love here.

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As a movie aimed at young children,  Clifford The Big Red Dog   is at least appropriate for its intended audience. Unfortunately, this dog-as-big-as-a-pony show is not very appealing to anyone else. Despite a star-studded ensemble cast of comedians — and almost 60 years' worth of source material to draw from — not even toddlers will be howling with laughter at the movie's flimsy attempts at humor, which often resort to outdated stereotypes, overused gags, and potty humor.  Clifford will entertain the youngest viewers, and is destined to be the kind of film preschoolers want to watch again and again, but most audiences will be bored by its stale jokes, two-dimensional characters, and lazy writing.

Clifford The Big Red Dog  is a Walt Becker film with several writers receiving credit (never a good sign): Jay Scherick, David Ronn, and Blaise Hemingway wrote the screenplay, while Justin Malen and Ellen Rapoport are credited for the story. Norman Bridwell, of course, wrote the beloved book series that the movie is based on. Like the source material,  Clifford The Big Red Dog  is about a young girl named Emily Elizabeth who has a massive red dog as a pet. Despite the animal's giant size, he is a lovable, gentle, and kind companion. The 2021 movie takes significant liberty with the source material though, inventing two somewhat contradictory origin stories and making Clifford into a big red puppy (rather than a dog).

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Despite the title,  Clifford The Big Red Dog  is really Emily Elizabeth's story. This version of the character, played by Darby Camp, is an unpopular do-gooder being raised by a single mom while attending a prestigious prep school on a scholarship (something the other students are quick to tease her about). For the majority of the movie though, she is being watched by her slacker uncle Casey (Jack Whitehall). She meets the tiny puppy version of Clifford at a traveling animal rescue tent, run by a mysterious Mr. Bridwell (John Cleese), and later finds the dog in her backpack. When Clifford inexplicably grows into a gigantic size overnight, Emily Elizabeth and Uncle Casey find themselves facing one large mouth to feed!

If that doesn't sound like enough of a premise to fill a 90-minute runtime, that's because it's not. The biggest problem with  Clifford The Big Red Dog  is that the core plot is woefully underdeveloped. Too much of the movie relies on the spectacle of a giant large puppy to keep the audience's attention. Rather than coming up with a strong, compelling narrative to justify a feature film, the movie is a mish-mash of disjointed — and often redundant — plot points that lack any logical continuity. The main conflict is the introduction of the villain Tieran (Tony Hale), the owner of the genetic engineering company Lifegro. Although they've largely been unsuccessful, Lifegro's mission is to genetically alter animals used for food. It makes some sense that such a company would want to experiment on an inexplicably humungous animal like Clifford, but from a narrative perspective, making the company trying to end world hunger the "bad guy" is a weird choice.

Many of the narrative and stylistic choices in  Clifford The Big Red Dog  detract from the film. Unlike the children's book, this version of the dog is more explicitly magical in origin; yet, the movie fails to fully embrace that tone, settling uncomfortably somewhere between mundane realism and ill-defined whimsy. Clifford himself always stands out; at times the CGI is impressive, but most of the time he looks like he doesn't belong. The tiny puppy version is particularly awkward-looking since it appears to just be the large model scaled way down. For a movie called  Clifford , it doesn't seem too concerned with understanding — let alone honoring — its titular canine. The dog's personality, intelligence, and even motivations are entirely based on servicing the plot: he's an almost supernaturally intuitive animal when he needs to save the day, and a dumb puppy when the movie needs a laugh.

To her credit, Camp brings a lot of heart to the role of Emily Elizabeth, and the young actress has a promising future in the industry. Emily Elizabeth's friendship with Clifford is the heart of the story and Camp does her best to sell it. Despite her best efforts though, the end result feels both rushed and forced. The issue is the flimsy plot: events have little consequence, which robs moments of their weight. Clifford has no arc and the only change to his character in the movie is his size. Meanwhile, the movie wastes a number of beloved character actors who try their best to instill some charm in a lifeless script. Even Kenan Thompson, who has a bit part as a nervous veterinarian, feels bored in the role — and it's a sentiment the audience shares.

Despite its flaws,  Clifford The Big Red Dog  has flashes of fun, hinting at the kind of movie it could have been. Camp and Whitehall have good onscreen chemistry, and while Uncle Casey suffers from the same shallow characterization as the rest, he does have some of the movie's rare laugh-out-loud moments that adults can enjoy. Small children will appreciate the movie's simplicity and be delighted by Clifford's larger-than-life antics — there's a reason why so many classic children's movies feature dogs. Regardless,  Clifford The Big Red Dog  does little to elevate the IP, and is destined to be just a footnote in the beloved franchise's history.

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Clifford The Big Red Dog  releases theatrically on November 10, 2021 and is also available to stream on Paramount+. The film is 97 minutes long and is rated PG for impolite humor, thematic elements and mild action.

Clifford the Big Red Dog

Clifford the Big Red Dog is a 2021 feature film based on the book series of the same name from the author Norman Bridwell. A mixture of live-action and 3D animation, the plot follows young girl Emily Elizabeth Howard, a New York resident that ends up caring for Clifford, an abandoned red-colored puppy that grows based on how much love he's given.

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Clifford The Big Red Dog Review

10 Dec 2021

Clifford The Big Red Dog

If you’re looking for a heartfelt adventure story about a lonely girl and the gigantic creature she befriends, set against a satirical backdrop exploring environmentalism and the genetically modified food industry, you now have two options. Older audiences can stick with Okja  from genre-exploding Oscar-winner Bong Joon-ho  — but now youngsters can get in on the action too with, er, Clifford The Big Red Dog .

Against the odds, Walt Becker ’s live-action tale — adapting the 1960s children’s books by Norman Bridwell, which became a popular pre-school animated show in the early ’00s — hews surprisingly close to that ‘ Okja , but, you know, for kids!’ set-up. Here, the lonely girl is Emily Elizabeth ( Big Little Lies ’ Darby Camp), a recent arrival in NYC who’s bullied at school by rich kids and is desperate for companionship. Instead of a ‘super pig’, she bonds with a ruby-red puppy who — after a stray wish for the pair of them to become “big and strong” together — swiftly blows up into a cutesy canine kaiju. And instead of the Mirando Corporation, the pair find themselves on the run from Lyfegro — a shady biotech organisation attempting to create giant animals, led by the slimy Tieran ( Tony Hale on fun, villainous form).

It’s a strange concoction, but there’s something pleasingly old-school about Clifford ’s approach — if it doesn’t have Paddington levels of craft or charm (be honest, what else does?), there’s real warmth and intention beyond a mere cash-grab here. Tonally, it feels like a tribute to sweet ’90s dog-antic comedies like Beethoven and the live-action 101 Dalmatians , just with a colossal canine at its core. That means you get all the usual dog-movie antics, this time played out on a comically large scale: Clifford wrecks the apartment! Clifford sniffs a plumber’s butt-crack! Clifford chases Zorbs in the park! And while the CGI isn’t always where it needs to be — mini-Clifford feels floaty and weightless, while mega-Clifford seems to change size from scene to scene — he’s an undeniably cute creation, sure to be a hit with the intended audience.

This is a solidly constructed, energetic family movie — at once formulaic and pleasantly weird.

Around the title character, the film moves swiftly enough to hang together. Emily Elizabeth and fellow nerdy kid Owen (Izaac Wang) make for a sweet duo,  Jack Whitehall gives good gurning despite an unconvincing American accent (a confusing choice, given Casey’s sister speaks with an English accent), and the screenplay boasts a solid set of gags. “It’s New York, no-one will notice,” says Casey as they prepare to take the house-sized dog for his first walk — quickly proven to be correct. It presents a diverse and unified vision of the Big Apple too, where community and togetherness is something to be celebrated.

For all that Clifford is prone to on-the-nose cheesiness (“That’s the dog all over Instagram!” gasps a school kid as the bullies are won over) and never answers key questions about how exactly the big red dog squeezes in and out of buildings, this is a solidly constructed, energetic family movie — at once formulaic and pleasantly weird. Where else will you see a deli fight sequence, a rage-infected sheep, and a magical John Cleese in a turquoise waistcoat? Maybe there is a bit of the genre-busting Bong in there, after all.

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Clifford the Big Red Dog Reviews

The last Clifford film, Clifford’s Really Big Movie, wasn’t great, but it at least understood the source material it was adapting itself from and respected Norman Bridwell’s legacy. The new Clifford movie does not do any of that.

Full Review | Original Score: D | Mar 5, 2024

Besides being expectedly childish, incredibly formulaic, and exaggerated in every possible way, the characters and the main narrative are far from looking, sounding, and being authentic.

Full Review | Original Score: C- | Jul 25, 2023

A genuinely lovely and endearing re-entry into the Clifford universe, wherein once again we learn what it might be like to own a small puppy that inexplicably grows up to become a 4-metre-high pooch.

Full Review | Original Score: 3/5 | Mar 18, 2022

Watching as an adult, Clifford the Big, Red Dog is sweet, cute, mildly humorous and a bit of innocent fun.

Full Review | Original Score: 3/5 | Feb 9, 2022

It feels like one of those live-action Disney features that were so prevalent during the 1970s -- one could easily picture Jodie Foster as the prepubescent heroine, Dean Jones as her bumbling uncle, and Don Knotts as the supremely self-satisfied villain.

Full Review | Original Score: 2.5/4 | Feb 4, 2022

All up, it's a spirited and unpretentious film with some engagingly eccentric bits, the best of which involve Izaac Wang.

Full Review | Original Score: 3/5 | Jan 6, 2022

Clifford the Big Red Dog is a scrappy delight. It may not have a lot on its mind and it stumbles all over the place but it delights in where it counts and its basic charms are almost irresistible.

Full Review | Original Score: 3/5 | Jan 1, 2022

Proficiently directed, the film moves quickly and has the usual messaging about being tolerant and the importance of - here it comes, folks - being yourself. Is there a law stipulating this theme as mandatory for any film with children in its target demo?

Full Review | Original Score: 3/5 | Dec 30, 2021

It's a live-action world, though Clifford is a computer-animated dog, which fills the whole enterprise with unfortunate echoes of the "Tom & Jerry" movie from earlier this year.

Full Review | Dec 28, 2021

Less visually inventive than a film about a kaiju-sized canine ought to have been, and saddled with a mechanically delivered theme about embracing difference.

Full Review | Dec 25, 2021

Here's the thing. The cast sells the tail off this thing, making normally unfunny setups come off fresher than one would have expected.

Full Review | Original Score: B | Dec 20, 2021

The one saving grace though is, unlike the TV series, at least they decided here that Clifford shouldn't talk.

Full Review | Original Score: 2.5/5 | Dec 17, 2021

A very attractive offering for kids. [Full review in Spanish]

Full Review | Original Score: 3/5 | Dec 16, 2021

The lack of pretension is precisely what makes this movie one of the most entertaining movies of recent years and the ideal vessel to bring life to this saga. [Full review in Spanish]

Full Review | Original Score: 7/10 | Dec 15, 2021

Pet-loving tots should lap up this big-hearted adventure based on Norman Bridwell's children's books.

Full Review | Original Score: 3/5 | Dec 14, 2021

Some children's books don't translate well to the big screen. This movie is one of those.

Full Review | Original Score: 4/10 | Dec 13, 2021

If you've watched a few kids' films about children gaining wondrous new friends, you'll find this one blandly unsurprising.

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Maika Monroe's Directorial Debut Puts "Raw and Wild" Women Front and Center

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The Big Picture

• Collider's Perri Nemiroff talks to Simone Faoro and Marin Hinkle about their short film The Yellow during TIFF 2024.
• Faoro reflects deciding to adapt Samantha Hunt's short story with Maika Monroe recognizing the powerful storytelling potential of short films.
• Hinkle aims to empower future female filmmakers and praises working with Monroe, Faoro, and Haley Joel Osment.

Compared to feature-length films, shorts are wildly underappreciated despite being able to inflict a similarly powerful impact. Co-directors Maika Monroe and Simone Faoro create a stunning short film, The Yellow , which is adapted from author Samantha Hunt 's short story of the same name, that intimately dissects suburban dread and existential absurdity. The 14-minute film features mesmerizing performances from Marin Hinkle ( Two and a Half Men ) and Haley Joel Osment ( The Sixth Sense ).

In this interview, Collider's Perri Nemiroff sits with Faoro and Hinkle at the 2024 Toronto International Film Festival and delves into how they updated the source material to reflect today's issues and their experience working alongside the crew. Hinkle also reveals her goals to uplift future women who are in this industry, expressing her admiration for both Monroe and Faoro. Hear about their experience filming The Yellow in the video above, or follow along via the transcript below.

Short Films Like 'The Yellow' Deserve More Attention

"they're like short stories.".

PERRI NEMIROFF: I feel like nobody pays enough attention to short films, and it's such a beautiful storytelling format that literally doesn't get as much credit because it's short, and I can't quite understand that.

MARIN HINKLE: My brother was visiting prior to me getting on the airplane, and he's never seen a short film before. He said, “I don't understand. How can I pay to go see them?” And actually, I, who had been in the business for many decades, realized that that was probably true. Unless you're in the business, you don't quite know how to have access to seeing short films.

I find that very stressful. Also, sometimes when I cover them, it can be challenging to get them distributed. Then you hear these wonderful things, and then there's no place to access them after the fact. I find that very frustrating.

HINKLE: We were with a producer last night who shared something that I thought was beautiful. She said you should tell people who don't understand the value of short films that they're like short stories. A collection of short stories can offer something that a novel is a very different kind of experience for.

I feel like now I'm going off on a real tangent, but I was thinking about this because one of the movies that I was really excited about here is Life of Chuck , and it is one of Stephen King's short stories. Even with books, I feel like a full book gets way more attention than a short story. It just does not quite compute because both can be equally as powerful.

Here's What Mike Flanagan Does and Doesn't Change About Stephen King's 'The Life of Chuck'

Tom Hiddleston, Chiwetel Ejiofor, and Karen Gillan join the writer-director to discuss why this Stephen King adaption may be his best yet.

Clearly, I know what you're short is about. Our viewers might not know about it just yet. Would one of you mind giving a brief synopsis of The Yellow ?

SIMONE FAORO: It's about two unhappy people who spark a magical moment and come together, and a little fantastical moment happens. It's a strange little story.

HINKLE: And then there's also a dog.

I almost got very stressed about that dog.

HINKLE: Yes, we were all a little stressed!

And then I didn't.

Maika Monroe and Simone Faoro Wanted to Depict "Raw and Wild Women"

Simone, I know you co-directed and co-wrote with Maika Monroe, who I am a big fan of. She's been on Collider many times. Can you tell me a little bit about how you first met and what the first thing you saw in her was that signaled to you, "She would be a good creative partner for me?"

FAORO: I've known Maika since we were 16. We grew up together, and we've been best friends for a very long time. We had always wanted to collaborate on something, and we never really knew what. It wasn't until I found Samantha Hunt's book of short stories that I was like, "I want these women that Samantha writes to be on the screen." I just fell in love with them. They're very raw and wild women, and we need more of that represented on the screen. I found the book, and I gave it to Maika, and I was like, "Any one of these stories. Let's do it." She came back with The Yellow, and we got in touch with Samantha and started adapting.

So many follow-up questions. One of my favorite things about an adaptation is that it's an opportunity to respect and celebrate the source material, but also find ways to evolve. What space in her short story did you find that you thought you could bring your unique voice to?

FAORO: For Susanne's character that Marin plays, we kept essentially her little bit exactly the same. I felt like it was really beautiful and impactful, and I didn't want to touch her character. I thought she was perfect as she was. But I felt like Roy, who was played by Haley Joel Osment, could be a little bit updated for the time. The original short story is about a little less than 10 years old. So, Samantha and I were talking, and we felt like we could make him lonelier. In America, there's a crisis in loneliness right now, especially in boys and young men, that I think is really sad . We were tapping into that, and we felt Haley really embodied '90s nostalgia, and we felt like he was the right person to play the role.

Marin Hinkle Strives to Uplift Future Women in Cinema

Marin, on to you with signing on to this. You are very popular. I imagine you have many opportunities, and someone might be thinking, "Why carve out the time to do a short film?" What was it about this material that made you say, "I need this kind of project in my life?"

HINKLE: In the last maybe decades, I've had a chance to work on a variety of roles that have had a kind of cover that they present. We get to see in some episodes, whether it was Judith on Two and a Half Men or whether it was Rose [in The Marvelous Mrs. Maisel ], we get to see moments of, I call it like an underbelly. But I was very drawn to this piece because I feel like the rawness of a private space that someone has when the family is gone, and you're alone in the house, and maybe you're drinking, or maybe you're dancing to the music that you've wanted to let loose to, I, maybe in my own life, felt like I needed a little bit of that let go.

Honestly, I really wanna work with young women . I really wanna be there to support and to love [them]. "Guiding" is not what I would say because I think I made a lot of mistakes in my career, so maybe I wanna tell them to go a different direction than I went at times. But I really got incredibly drawn to both Simone and Maika and Samantha, who wrote it. I've told all three this: whatever they do from now on, whether I can hold a boom for them or play a tree, I'm here energetically to help this generation go. I was so drawn to that. So, it was a yes right away.

It makes me so happy.

HINKLE: Thanks.

It's such an important thing because someone with your platform eventually pulls someone else up, and then you could pay it forward when you make more movies. That's how the cycle continues and how it gets stronger every single step of the way.

Many questions about your collaborators. First of all, I'll start with the two of them, Simone and Maika. Why, from your perspective, did it feel like the right directing duo to lead you through this process?

HINKLE: This one's beautiful — she’s an incredible photographer and really a visionary and a deep artistic soul. I looked at her work, and I certainly knew Maika’s, and I just knew that their taste and how they were gonna present their direction was right on the same page. I think I was on set for two days, and every single moment they would share their thoughts with one another . They were two peas in a pod, like two elves, two magical sprites, and they never had disagreements, or if they did, it was away from us. It really just felt incredibly invigorating and soulful the way that they worked, and I knew that from the second I talked to them.

Haley Joel Osment's On-Set Spirit Is "Childlike"

"he's a legend.".

Now I obviously have to ask about working with Haley.

HINKLE: He’s a legend.

It’s a raw role that you have to give a lot of yourself to. What is it about him as a scene partner that makes you feel safe and also makes you feel like you could deliver your best work?

HINKLE: Haley, in a funny way, reminded me of Tony Shalhoub. I'm gonna say that because I say this about Tony — every day Tony came to work over the six years I was with him [ on The Marvelous Mrs. Maisel ], it was childlike because he was like, "I can't believe I get to do this." The expertise of all the years he's been doing it, he has no ego and no hubris about that. And Haley was the same. It was very childlike, how joyful he was at playing a role that's very in despair . I just felt like their casting was extraordinary. It was a perfect merger, and we had to be pretty sexual. We had to be very vulnerable, like, meet, be covered in blood — if I'm allowed to say, I guess I've just said it, a little spoiler alert — but basically, that kind of sexual openness was just about trust. I had it in a second.

I love that.

'The Yellow's Crew Share the Colors They Are Inspired By

I'm gonna end with this question that I feel I could just come across as, "What is your favorite color?" But because of your movie, it has made me think about how I respond to colors and how they make me feel. Can you tell me a specific color that you find inspiring you?

FAORO: The yellow. I love yellow. It's always been my favorite color and I have a lot of clothing that's yellow. It's just my go-to. But I love all colors. Honestly, I love green and blue.

Glad you like green on the Collider set.

HINKLE: I wanna know what yours is. Can we finish with yours?

This movie made me think about it a lot. Mine is red, and it brings me back to my Nana, who always used to say red was a lucky color. Every time I see a lot of red, I feel like something good is going to happen.

HINKLE: You have this connection to her. My mom's is red, too.

FAORO: Red is very cinematic.

HINKLE: I grew up thinking I wanted to be eccentric, and, for some reason, purple felt quite eccentric. I guess I'm gonna go with purple.

FAORO: Great color.

Special thanks to MARBL Restaurant for hosting Collider, as well as our additional sponsors Range Rover, the official luxury vehicle partner of the Cinema Center and Collider Media Studio, poppi, Tequila Don Julio, Canada’s premium spring water brand, Legend Water, and People’s Group financial services.