This 30th anniversary double-disc special edition of the 1976 hit “Grizzly” is an impressive release. It was clearly put together with the utmost respect for a film that, today, is largely considered a cheap “Jaws” rip-off. Horror and exploitation fans who were not around when “Grizzly” was originally playing the drive-in and “hard top” circuit, might understandably be a bit nonplussed by such a respectful digital homage. But back in 1976, when you actually had to leave your home for cathartic cinematic thrills, “Grizzly” was an event. Few teenagers could resist that amazing poster art of the blood thirsty bear towering over the buxom blond camper with the emphatic tag line, ’18 Feet of Gut-Crunching, Man-Eating Terror!’ What is surprising is how popular the film was with mainstream audiences, clawing its way into the top of the boxoffice charts and making a hefty profit for the indie film company Film Ventures International. Part of the reason for the film’s mainstream success was that, unlike the typical exploitation fare of the time, “Grizzly” was a low-budget production that looked like a slick Hollywood release. (It also didn’t hurt that it was rated PG.) Its polished cinematography by William L. Asman and solid acting by a cast of seasoned b-movie vets made it a not-so-guilty pleasure. “Grizzly” was directed by late exploitation legend William Girdler who was responsible for several drive-in favorites of the ‘70’s including “Three on a Meathook” and “Abby.” He died in a helicopter accident just before he could enjoy the success of “The Manitou,” 1978, his first big studio film. Though known primarily as the director of “bad” movies, his films delivered far much more than cheap exploitation. “Grizzly” showcases both the strengths and weaknesses of the Girdler oeuvre; derivative, unevenly paced, technically competent, solidly acted and wholly entertaining.

“Grizzly” revolves around a Georgia state park at the beginning of its busiest season. Park ranger Michael Kelly (Christopher George) prepares for the crowds with a quick staff briefing. Campfires and general safety matters are covered; killer bears are not. The easy going Kelly is assisted by determined naturalist Arthur Scott (Richard Jaeckel) who helps to track the local wildlife and helicopter pilot Don Stober (the great Andrew Prine). Kelly has recently been dating spunky photographer Allison Corwin (Joan McCall) whose father owns a local lodge. He has agreed to take her on his rounds so she can capture some of the local wildlife. All is well at the idyllic park until a couple of female campers are brutally attacked and killed by a towering grizzly bear. When the women fail to check out of the park, a search party discovers their bloody remains. Charley (Joe Dorsey), the park supervisor, puts pressure on Kelly and Scott to hunt down the bear, while certain sections of the park are evacuated. Park rangers, some of whom are not too bright, are sent out with guns to contain the beast. One female ranger in particular feels compelled to undress and enjoy a refreshing waterfall. Her impromptu shower ends with a giant bear claw grasping her naked torso and a literal river of blood. Several bodies later, Charley opens the park up to a group of good ole boy hunters who proceed to drink - and not catch the bear. After the grizzly attacks a small boy (who loses his leg!) and then kills his mother, Kelly decides to take matters into his own hands. While Scott goes out into the woods alone in an attempt to track the bear, Kelly and Stober take to the helicopter armed with some big guns. What happens next will come as no surprise to anyone who has seen “Jaws,” but it’s a fun ride nonetheless.

“Grizzly” was immediately dismissed by critics as an incompetent “Jaws” rip-off – though this did little to dissuade moviegoers. The narrative structure and lead characters of the film are so close that it’s hard to believe Universal didn’t take some sort of legal action. Especially considering how they went after “Great White” just six years later and had it pulled from theaters. The irony with “Great White” is that while it did share a cosmetic resemblance to “Jaws,” “Grizzly” is far more guilty of outright plagiarism. The script outline is simply a re-working of the Peter Benchley and Carl Gottlieb penned script. However, “Grizzly” is not necessarily a bad film because of its obvious similarities to “Jaws.” It’s no more lazy than the dozens of slasher films that proliferated after the success of Halloween; some of which were interesting in spite of their obvious larceny. “Grizzly” works as a slick exploitation film for several reasons. Not the least of which is its literate script, which according to actor Prine, wasn’t even finished by the time shooting began. Though writers Harvey Flaxman and David Sheldon slavishly used the “Jaws” narrative skeleton, they did create a very authentic atmosphere for their Jaws-on-land and contributed some solid dialogue and character background. While this might seem like small praise indeed, dimensional characters in an indie drive-in movie – especially something considered a cheap knock-off - are rare. Whatever is the case with the script, whether it was partly improvised or not, the solid character work really heightens the drama and makes the rote narrative work in spite of itself.

Girdler assembled a great cast of b-character actors who add quite a bit of nuance to their derivative roles. The late George, best known for his television work, had a long career in exploitation films. His early ‘80’s output alone; “Gates of Hell,” “Graduation Day,” “Pieces,” and “Mortuary” is enough for induction into the Exploitation Hall of Fame. George was always a solid character actor who excelled playing tough leading men. In “Grizzly” he plays Kelly with a surprising amount of humor. What could have easily been a one-note take on the Roy Scheider role is made a bit more complex by the underrated actor. The late Jaekel was also a popular television actor who played the same type of tough guy roles as co-star George. Jaekel (who did drive-in time as well in titles like “Green Slime” and “The Dark”) brings a nice intensity to the part of Scott. The standout here is Prine who acknowledges writing much of his own dialogue. Prine ‘s career also mirrored his co-stars (all three of whom appeared in the 1970 John Wayne western “Chisum”). In addition to a long, distinguished career in television (where he is still busy today) he has appeared in several genre favorites including the title character in the ‘70’s cult film “Simon, King of the Witches.” Prine brings a genial, laid back approach to his helicopter pilot and provides a nice contrast to the alpha male bravado of his two co-stars. It’s a shame Prine wasn’t cast in the George role of the park ranger; casting against type might have made the film that much stronger. Joan McCall (who is still married to “Grizzly” producer David Sheldon) provides a strong presence and has an easy chemistry with George. Rounding out the talented cast is the stoic Dorsey who plays the park supervisor. The one true stock character of the film: the authority figure who refuses to close down the beach/park/lake/carnival in spite of the impending doom.

While “Grizzly” works on several levels, the actual title monster proves the most problematic. One of the reasons “Grizzly” is beloved by bad film devotees is the poor execution of the attack scenes. The actual grizzly is played by a real bear (nowhere near the 18 feet of towering fury the poster promised) as well as a shaggy mechanized version - and a large claw. The mechanized version, ruined by rain, is a different color than the real bear, providing glaring continuity errors. The size of the bear also varies greatly with POV shots often towering above trees, while others have the bear at victim eye level. Our ferocious grizzly is often less so whenever the real bear is onscreen for any amount of time. None of the footage is edited well; a creative editor might have been able to finesse more coherent sequences. It might have been wiser to have waited to reveal the bear until the “thrilling” conclusion –sans shaggy stand-in. Though the attack scenes are sloppy, gore fans will appreciate the violence, which was cut extensively for the original PG release. This new unrated version contains quite a bit of violence – one of the draws of this film even during its original run. The legless Billy is a quick (and deliciously sick) highlight.

This Shriek Show release is yet another digital gift to exploitation fans. Included in this 2-disc set is a widescreen 2.35:1 print of the film. Though it doesn’t appear to be a remastered print, it’s a sharp transfer that restores the smart composition of Asman’s lens. The Dolby Digital mix here is quite rich; accentuating the intricate sound design. Disc 1 also includes the original trailer (which plays curiously like a TV spot) and a commentary track with McCall and husband Sheldon. There are a few awkward sound glitches on the track, but overlooking that it’s a fun listen. McCall has a contagious enthusiasm for the project and shares some kind memories of working with George and Girdler. She and Sheldon have amazing recall for a film that was shot in just one month - over 30 years ago. Their spirited anecdotes are a must for fans of this film. Disc 2 includes an original promotional documentary from 1976. It’s interesting if only for a glimpse at the late director in action; Girdler also narrates the piece. “Jaws with Claws” is a new documentary with most of the living participants interviewed. McCall, Prine and the writers discuss their involvement in the film and their working relationship with Girdler. It’s a very comprehensive extra and goes into several details that even dedicated fans might not be aware of. A short photo and poster gallery, radio spots and Shriek Show trailers round out the extras. A useless video short “Reflections of Grizzly” showcases a 2005 screening of the film in Los Angeles. It adds absolutely no insight into the film or why there remains a rabid cult following after all these years.

Several of the extras on this Shriek Show release were donated by Patty, the webmistress at WilliamGirdler.com. Her site is the most comprehensive archive anywhere dedicated to the work of Mr. Girdler. Fans of “Grizzly” and his other films should check out her site. It’s a smart, well-researched homage to the underrated writer/director.