A Whale for the Killing is an adventurous, visually stunning, thematically stirring telefeature that is not to be confused with bleeding heart liberal causes. Although conservation of whales does figure into Lionel Chetwynd's script - based on the book by Farley Mowat - it's only one aspect of this multilevel, impassioned, and poignant scenario.

The story concerns a vacationing American architect (Peter Strauss) who is stranded in a quaint but impoverished Newfoundland fishing village with his wife (Dee Wallace) and two sons (Bill Calvert and David Hollander) after their boat is damaged in a storm. During the same storm, a 45-foot humpback whale is also trapped in a nearby lagoon. As Charles Landon, Strauss is compelled to protect the whale from local roughnecks' rifle shots. Abetted by the town's sympathetic doctor (Kathryn Walker) and a veteran fisherman (Richard Widmark), Landon fights for the animal's life against the callous and/or pragmatic inclinations of the villagers who are hostile to a "mainlander" butting into their business.

Pertinent points of view are balanced, and the film meticulously avoids loading the dice too patly in Landon's favor. Still, he is depicted as a heroic figure who, in the process of trying to save the whale, emerges triumphant over the sense of ennui that's been stifling his own life.

As deftly directed by Richard T. Heffron, the story's allegorical shadings and the urgency of its action are powerfully combined. Michael Eliot and Robert Florio's editing also contributes to the palpable sense of immediacy that never lets down throughout the three hours. Heffron elicits uniformly convincing performances, topped by Strauss, who once again proves what an excellent dramatic actor he is. Love scenes with a mechanical whale are no easy assignment. Strauss' intense credibility makes us care what happens to the whale, and results in a moving resolution. As his long-suffering wife, Wallace is also believable, albeit in a somewhat thankless role. Walker and Widmark add dimension and grace to the film as Landon's allies. However, of the supporting characters, Bruce McGill is most outstanding as the antagonistic local ruffian.

Filmed primarily on location in Canada by director of photography Edmund Koons, A Whale for the Killing is replete with splendid images. Vince Cresciman was art director. The beautifully photographed Newfoundland locale is richly atmospheric. Every cent of the $5 million budgeted for this Playboy Prods., Inc. telefeature, made in cooperation with Beowolf Prods., Inc., ended up on the screen. Some stock long-shot footage of whales was used, but most of the underwater sequences were photographed using a full-scale mechanical whale that seems uncannily alive, right down to the barnacles.

Music by Basil Poledouris is melodic and evocatively nautical, suggesting salty, seafaring folk tunes. Another crucial aspect of the film's persuasiveness is the adroitly modulated whale sounds integrated to mournful effect. Production sound mixers were Tommy Causey and Michael Moore, electronic sound effects are credited to Stan Levine, Jere Golding is credited with underwater sound, and sound editing is attributed to Echo Film Service and John Kline. Foreman for the film's impressive special effects was Cliff Wenger.

A Whale for the Killing was produced by Robert Lovenheim, co-produced by Strauss, and executive-produced by Edward L. Rissien.