The Big Cat (1949) User Reviews

I think I wanted to like this one a lot more than I actually did.

[planktonrules · 4/10 · 5 March 2019]

Just after watching "The Big Cat", I thought to myself....'should I give this one a 5 or a 6?'....but the more and more I thought about it, the more I realized that I WANTED to like the film more....and that I don't think, in hindsight, that it even quite merits a 5.

"The Big Cat" is a coming of age story about a young man from Philadelphia who is trying to live in the west of 1932...but in some ways fails miserably until he ultimately proves himself. Danny (Lon McCallister) is out of place and often makes a nuisance of himself...yet, inexplicably, Tom and Doris (Preston Foster and Peggy Ann Garner) think he's marvelous. It's especially odd with Doris. Perhaps the pickings are slim out in the rural west, but she adores Danny the second she meets him....and it felt like the scriptwriter used this as a plot device to get us to pull for Danny. I, on the other hand, thought he was a bit of a screwup....and was not so impressed by him.

The story is about a cougar who is supposedly huge and very aggressive (the cat they used in the film appeared aggressive though not particularly large). Folks try to shoot it repeatedly without success (why? The cougar was not magical) until eventually the non-violent Danny rises to the occasion.

For me, Danny seemed like a very uncertain and rather wimpy guy and seeing his transformation at the seemed a bit farfetched. Not impossible...but hard to believe. Overall, a film that failed to connect with me....not a bad film but also not a particularly memorable one.

Felling the Cat

[wes-connors · 4/10 · 19 August 2007]

Young Lon McCallister has trouble making ends meet in depression-era Philadelphia, so he returns to his dead mother's rural hometown. There, he becomes involved with the town folk's soap opera past, and catches the eye of Peggy Ann Garner. Due to drought, a menacing cougar is on the scene, making the outdoors very dangerous for the movie's characters...

There is a lot of fighting, with and without the cougar; but, that's not the film's most interesting feature. More interesting is that the movie features a few "child stars" past their "Hollywood Prime." On hand: Lon McCallister, from 1943's "Stage Door Canteen" and others, Peggy Ann Garner from 1945's "A Tree Grows in Brooklyn" and others, Skip Homeier from 1944's "Tomorrow, the World" and others, and Gene Reynolds from 1938's "Boys Town" and others. Mr. Reynolds won huge fame later, as a producer ("M*A*S*H").

"The Big Cat" and the family dog win big acting honors.

**** The Big Cat (4/49) Phil Karlson ~ Lon McCallister, Peggy Ann Garner, Preston Foster, Forrest Tucker

A Cat's Tail

[sol-kay · 6/10 · 22 April 2005]

**SPOILERS** With the great depression and a disastrous drought all the people in this little area of Southern Utah needed was a deadly mountain lion on the loose killing their cattle to make them forget their troubles.Having a $150.00 reward, a lot of money back in 1933, on it's head everyone in the area were out to get the deadly feline but with no success because the lion was always one step, or paw, ahead of them. Into the mix comes young Danny Turner, Lon McCallister, from Philidelphia looking for a job at the Tom Egger place.

Tom, Preston Foster, sent Danny a letter about three months ago about Danny helping him with his work in the tan bark business but since them Tom's tan bark business went kaput. Since there came on the tan bark market a new and cheaper synthetic tan bark that put poor Tom out of business. Danny shocked at Tom's situation, as well as his own, decides to stay with him and help him gun down the killer mountain lion for the reward money. Money that can give Tom a jump start to fill his orders of tan bark and get him, and Danny, back on his feet again.

Meanwhile Tom had been feuding with his neighbor Gil Hawks, Forrest Tucker, for over twenty years a feud that started over Lucy, Gils's, sister, who Tom wanted to marry. The feud got so out of hand that Lucy soon fled east to get away from both her brother Gil and her lover Tom and to keep from ending up dead by getting caught in the crossfire of these two lunatics.

In Philidelphia Lucy met the man that she married and with whom had Danny but she and Tom secretly carried a torch for each other .Now with both his parents dead and no work to be found Danny could only go west to Utah and Tom for work and for someone who would treat his as if he were his own son.

The fighting in the movie between Tom and Gil is so off-the-wall and outrageous that you wonder how they both survived all that time without ending up dead behind bars or in a loony bin. With guns and axes and chains the two were going at it in what seemed like a crazed daily ritual. The appearance of the killer cat was the only thing that kept the two from really going at it and finishing themselves off for good long before the movie ended.

Danny also got the two Hawks boys Jim & Wid, Skip Homeier & Gene Reynolds, mad at him when pretty Doris Cooper, Peggy-Ann Garner, went wild over the young city boy even before she ever laid eyes on him. This showed how desperate Doris was for a normal young man who wasn't part of the crowd that she had to deal with in that part of of state.

Trying to track down the mountain lion Tom shoots a buck for food and after Danny, who couldn't bring himself to gun down the buck, dragged it back to Tom's place but forgot to take Tom's 30/30 rifle that he used to track down the panther. With the deadly cougar picking up the scent and then trying to eat the hanging buck carcass Tom foolishly tries to shoot the cat with a .22 rifle. A .22 is useless against a large wild animal like a mountain lion and Tom gets killed by it when it ambushes him . Danny feeling guilty about Tom's death, since he left the gun that would have done in the cat back in the woods, goes out on his own and finds it's lions lair. With the unexpected help of a member of the hated Hawk family, their dog Spike, Danny has it out with and finally finishes off the elusive and deadly killer.

Almost a Sleeper

[dougdoepke · 25 August 2017]

The movie's a quality outdoor production with engaging characters, solid script, and compelling scenery. So how did they get the cougar to go through his involved paces on apparent cue. The trainer or someone should get special credit since it's the cat's roaming that sparks the plot.

Spindly city lad McCallister arrives in Utah high country complete with suitcase and city suit. The question is what to make of him since the native woodsmen are a tough lot, from the men to the boys. But tough as they are, they can't seem to take out the predatory cat that's taking their stock. Turns out that McCallister's related to grouchy Foster, but how he'll manage to fit in with his city ways is the big question. Good thing that sweet little malt-shop Garner's there to flounce her dress at him. I like the way the thoughtful screenplay sets events in Depression era 1930's. Among other things, it explains why McCallister moves from ravaged city to high country unknown.

There's lots of outdoor action with no obvious sets. Note how noir director Karlson zeros in with close-ups to catch fleeting emotional moments, especially with Foster. Plus the chest butting between a blustering Foster and Tucker seems authentic as heck. But especially, there's that surprise about two-thirds way through that I sure wasn't expecting. I guess my only gripe amounts to a cougar without claws since Spike the dog is left unbloodied following his many tussles with the big cat. I guess the predator was understandably de-clawed before filming. Anyhow, I hope they gave the two critters a good payday for all their good work.

All in all, I can see the movie being produced as a boy's matinée. After all horse and dog movies were very popular during the latter '40's. Nonetheless, the film's quality is really much better than most. In my book, the result happily qualifies as a guys-of-all-ages creation that's as entertaining now as it was in '49.

Cougar at large

[bkoganbing · 5/10 · 31 August 2014]

The short-lived trans-Atlantic studio Eagle-Lion gave both the English and American moviegoers this Depression Era tale of a young man going to live in the wilds of Wyoming to escape the growing poverty and joblessness in Philadelphia where he's from. He's got an uncle there in Forrest Tucker, but goes to live with his mother's old boyfriend Preston Foster who has a place. Foster and Tucker aren't exactly best friends and living between both of them and trying to keep peace is preacher/farmer Irving Bacon and his wife Sarah Haden and their daughter Peggy Ann Garner. Of course she prefers McCallister to Tucker's oafish kids Skip Homeier and Gene Reynolds.

It's bad times like every where else. There's a drought, but also a mountain lion eating stock everywhere. The government has put a bounty on the cougar and Foster wants to collect it as he could use the money to jump start his ranch with significant timber holdings. Of course so could everyone else use the bounty money in those troubled times.

The film is in bad need of restoration to bring out the lush color location cinematography. But without any truly big names in the cast the film I'm sure is far down the pecking order. The cast gives some decent performances with McCallister and Garner a nice young couple the audience can identify with.

When it's restored I'm sure The Big Cat will be fine family viewing.

A vegetarian visits Uncle Meaty

[yonhope · 7/10 · 16 May 2005]

Hi, Everyone, Lon McCallister shines as a newbie to the Utah drought stricken badlands of the 1930s. He has left his Eastern digs to get away from the Depression. When he meets Peggy Ann Garner he wishes he could get back to the squalor he left. Her jawbone never stops when she is on screen.

This movie is not great by any means, but it has some good moments. There are only a few human actors in this drama. The Big Cat does a good job of hitting his marks and growling. The best scenes by far are the fights. They seem real. Not just the human, but the animal fights are well done for 1949 when George Lucas was not available for a light show or animation.

In one fight scene between Preston Foster and Forrest Tucker you can almost feel the pain. Lon McCallister manages to get into a fight with his two cousins and they don't hold back. The cat has a scrape or two with a beautiful white dog and all of it is photographed to show how rough it is to survive in an environment with limited water and food and money sources.

Lon had a true screen presence that did not last long enough. If they quit using him because of his short stature, it was a loss to the fans. Skip Homeier is good as a rotten kid. Forrest Tucker is easy to dislike and he carries off the villain honors well here. Preston Foster does an excellent job of being a less than likable hero.

The best acting here is by Sara Haden as the mom of Peggy Ann Garner. She reminds me of my aunts of the 1950s. The worst singing in movie history might be the acappella ditty offered up by Irving Bacon as he approaches Lon McCallister who is walking down the road with his suitcase.

Lon McCallister and Skip Homeier both should have had long careers similar to Clint Eastwood and Lee Van Cleef. They had a good hero/villain chemistry. Somehow it just didn't happen.

When you watch this and see Forrest Tucker in 1949, you are seeing F Troop's Sgt. O'Rourke just 16 years before he became known for his comedic fights.

I recommend Stage Door Canteen with Lon McCallister (5'6") and Sunset Carson (6'4"). You will see the same boyish charm of McCallister 6 years before The Big Cat was made.

Tom Willett

Dull

[dbborroughs · 3/10 · 9 July 2009]

Set in Utah during 1933's drought and depression, this is the story of a city slicker going to the wilderness and looking up a friend of his mothers. He ends up getting involved with the daughter of one of the ranchers and hunting for a big mountain lion that has been attacking live stock and people. Dully made by rote this is a pot boiler tale set in the modern west that is a good cure for insomnia. To be certain the film has some stunning photography of the wilds of Utah, but the plot is so over blown and the acting, outside of Preston Foster and Forrest Tucker is merely adequate, making for a film that's best used as a sleep aide. To be honest I struggled to get through this film and found that toward the end I had reached for the remote of the DVD player. I'd take a pass.

Great locations, great color, conventional story and characters!

[JohnHowardReid · 7/10 · 18 October 2017]

Director: PHIL KARLSON. Screenplay: Morton Grant, Dorothy Yost. Story: Morton Grant. Photographed in Technicolor by W. Howard Greene. Technicolor color consultant: Natalie Kalmus. Film editor: Harvey Manger. Music composed by Paul Sawtell and directed by Irving Friedman. 2nd unit director: Noel Smith. Associate Technicolor color consultant: Francis C. Cugat. Special effects: Roy W. Seawright. Art director: Frank Durlauf. Set decorations: Ben W. Bone, Armor Marlowe. Production manager: James T. Vaughn. Assistant director: Ridgeway Callow. 2nd assistant director: William Nolte. Hair styles: Joan St Oegger, Gwen Van Upp. Make-up: Ern Westmore, Jack Pierce. Sound technician: Victor Appel. Producer: William Moss.

William Moss Pictures, Inc. Copyright 19 May 1949 by Pathe Industries, Inc. Released in the U.S.A. through Eagle-Lion, in the U.K. through G.F.D. U.S. release: April 1949. U.K. release: 26 December 1949. Australian release by J. Arthur Rank through British Empire Films, Sydney release at the Capitol: 24 March 1951 (1 week only). Australian length: 7,009 feet (78 minutes). U.S. length: 76 minutes. U.K. length: 6,721 feet (74½ minutes).

SYNOPSIS: 1932 — depression and drought in the Rocky Mountain country — and a killer cougar!

COMMENT: Eagle-Lion films often enjoyed a perpetual half-life, hanging on through independent exchanges and the punishment of amateur projectionists, until the prints were so patched and shredded they literally fell apart. Very few of the movies in the independents' catalogs boasted any sort of color, let alone Technicolor, the acknowledged king of the rainbow, against which all other systems were regarded as second-rate; so The Big Cat was pretty near top of the popularity poll with schools, clubs and home cinemas that had no access to the output of Hollywood's major studios.

Superbly photographed on natural locations in the Rocky Mountain country of Utah, capably directed and acted, "The Big Cat" has enough predictable action to satisfy the average fan. What it doesn't have is an original story. Once the characters are established — and they are a conventional enough lot — it is possible to stay three or four jumps ahead of the plot. But when you're looking at color for the first time on the kitchen wall or the roll-up screen, it's the color that counts — and Duke Greene, a veteran Technicolor cameraman knows his palettes — nothing else really matters.

The Big Cat

[CinemaSerf · 5/10 · 4 January 2023]

Were it not for a rather cheesy romance between the hapless, suit and tie wearing "Danny" (Lon McCallister) and the terribly chintzy "Doris" (Peggy Ann Garner), this might have made for quite an exciting mountain adventure. The former arrives from the city to the area where his late mother grew up. The area is suffering not just from the depression, but from a drought and his welcome is not as warm as he might like. He takes up with "Eggers" (Preston Foster) who is set on hunting down a local cougar that is wreaking havoc on the local farming community, but he is soon embroiled in some local shenanigans with the "Hawks" family - "Gil" (Forrest Tucker) and his two yokel sons. Some of the hunt scenes are quite good fun, though the cougar seemed a little unenthusiastic to me; and there is quite a fun waterside brawl. Sadly, though, there is just way too much sentimental guff (usually with a gently accompanying string score) to sustain the theme for me. There's a bit of a twist at the (really quite implausible) end, but despite some fairly decent, active, photography, I felt it ran just a bit low on gas.

Possibly the best film of Phil Karlson's outdoor adventure period.

[rsoonsa · 9/10 · 12 April 2002]

Operating with a limited in number but generally talented group of eight actors, director Phil Karlson, soon to be known for his essays into noir, here creates an engrossing adventure film set in 1933 depression and drought wracked southern Utah, and incorporates many of the elements which later will prove vital to his deserved reputation as an important narrator of urban crime. Residents of a small secluded valley are being tormented by a large mountain lion which, due to a shortage of water, has invaded their region to prey upon livestock, and the bounty for the beast of $150 is coveted by two long-feuding neighbours, one of whom, Tom Eggers (Preston Foster) provides a place to live for a city-bred young man (Lon McCallister), the son of the former love of his host and also the nephew of Eggers' rival, Gil Hawks (Forrest Tucker). The well-crafted scenario includes elements of romance, suspense and humour to the basic plot, and a certain darkness of tone has raised the work above most others of its stamp, with crisp editing (Karlson and Harvey Manger) prevailing, and we enjoy particularly fine performances from Foster and McCallister, with a pleasingly large role for veteran character actor Irving Bacon, a standout as a farmer doubling as a preacher.

Immensely Satisfying

[FightingWesterner · 9/10 · 9 October 2009]

A young easterner returns to the drought affected valley where his mother grew up, aggravating the already intense feud between his mother's ex-fiancé and his estranged uncle. Complicating things even more is a huge mountain lion that holds the small community virtually hostage, killing precious livestock.

Though not exactly politically correct, this is an outdoor adventure with a whole lot of heart. A simple folksy script, earnest performances, and excellent location photography make this almost impossible to resist.

With all the limited resources of a low-budget film in nineteen-forty-nine, director Phil Karlson managed to pull off a minor miracle by getting believable performances out of the animals.

Those hills may be dead, but there's still life in him.

[mark.waltz · 9/10 · 20 September 2023]

Young Lon McCallister was brought up in the city by his late mother, born in the country, now a desolate mountain landscape depleted by drought which has caused a wild cougar to seek prey near the farms local settlers. Visiting his mother's old beau (Preston Foster), he finds a shell of the man his mother once loved, and discovers a feud that goes back decades with neighbor Forrest Tucker (who is McCallister's uncle), a gentle romance with Peggy Ann Garner and strength he must find when dark twists of a ruthless mother nature forces him to grow up.

I found this Eagle Lion programmer (filmed in Cinecolor) to be a very well done psychological drama, a combination of "The Trail of the Lonesome Pine" and "The Shepherd of the Hills", with a little bit of the western film noir "Pursued" mixed in. Scenes with the big cat (realistically fighting a hunting dog) are thrilling, and the fight scene between Foster and Tucker, as well as McCallister and his cousins, quite necessary to the plot. Irving Bacon and Sara Haden are memorable as Garner's parents. The profound ending makes this one all the more a classic. The impact of this film became much stronger as it progressed, increasing my admiration for it and ultimately giving this an extra high rating.