Straw Dogs
| release date | December 29 1971 |
| studio | MGM |
| director | Sam Peckinpah |
| writer | David Zelag Goodman, Sam Peckinpah |
| starring | Dustin Hoffman, Susan George, Peter Vaughan |
| rating | R |
| tagline | Every man has a breaking point |
| trailer 1 | Trailer #1 |
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1 Comments
First, I must say that this was a very well written review.
However, as in all subjective art, I happen to disagree with what Peckinpah was trying to invoke in his film. Calling his film one “With heavy right-wing political leanings” is a simplex of Straw Dogs story.
I believe by putting the violence and rape in the lens of an unblinking eye it shows the futility and foulness of violence.
Now, yes, you are right that Peckinpah believes these primal instincts are an absolute truth in humans, but it is not with a sense of masculine bravado. In my eyes his film is a statement that shows that violence, even if justified, makes one alienated from ‘polite’ society.
This is shown in the last line of the film in which John Niles says he “Does not know his way home.”
The Hoffman character replies, ” It’s ok, I don’t either.”
I also don’t think of the film as against the flower children of the 1960′s. Rather, like Last House On the Left, it is about the senseless violence of Vietnam.
One could argue that it is against what Peckinpah feels is human nature (human= animals). Whether it is defeatist of our instincts is an interesting point to and a pessimistic one, but I would call it open-minded maybe even realistic, not rightist or conservative.
Again, just my view. Thanks again for sharing yours and the review!
Best,
Nick S.
“Straw Dogs” is a remarkable film. Clearly a lot of time has been put into it, it can be well anlalysed like “Citizen Kane” (only not as boring) or “Black Swan” and can be disected to find clever underlying meanings and metaphors that might go past some audiences. If you’re an eagle eyed viewer you should be able to spot the various contrasts and links between different scenes and meanings, which is why “Stra Dogs” stands out from most films now a days.
My family thought “Straw Dogs” was “slow and were more than likely bored out of their mind for the first hour and a half, so if your a viewer that only wants gratious violence, this film is much much more than that. The first 1hr 30mins brilliantly deals with the rocky relationship between the couple, we can see their feelings for each other slowly declining, as the cracks begin to show. Not just in their own relationship but in their characters as well. Sam Peckinpah shows us a seemingly happy couple moving into an idyllic British location, but slowly reveals the darker side of the couple and everything around them, which is why the writing is just so engrossing and brilliant.
Obviously the English cliches are there, we all go around with dodgey teeth, living in small villages in the country where everyone knows everyone and we’re all inbreds with only about three brain cells speaking with a Bristol accent. But these cliches are actually used to make all the villagers seem like one character with their sly networking and vicious, sadistic acts.
“Straw Dogs” is also made brilliantly. Sam’s directing manages to catch your attention all the way through with his ingenious parallels and also what vicious impacts has on your mental state. The rape scene is really horrifically done with it seeming really quite realistic and distressing. It also deals with the after-affects realistically and the feeling of isolation and hopelessness is clearly present.
The finale is also realistically done and also thought-provokings. It’s also good how it not only shows the battle between the couple and the villagers but also the battle between the couple themselves and male dominance is clearly still present, which is a harsh reality for Susan George’s character. The attack is thrilling and edge-of-yout-seat stuff. It’s terrifically filmed and will have you rooting for Dustin and Susan as they viciously fight back.
“Straw Dogs” was apparently a huge aura of controversy in its day and still after seeing it now it seems shocking and quite brutal. It also still remains a fantastic piece of film-making, with genius writing and directing as well as an engrossing and thrilling finale. “Straw Dogs” is also the perfect title.
Sam Peckinpah’s “Straw Dogs” is a stirring, often times riveting thriller; a film about violence, emotional destruction, social discrimination, and the limits of man. We’ve all seen movies like this for sure; there have been as many copycats as there have been predecessors. But who can put much blame on a filmmaker for having a keen eye for the violent acts committed in this world; the dark, dark side of humanity; and the sins of the human spirit. Peckinpah is intelligent in the way he explores these themes, and his approach is kind of scholarly, in a way. There are two sides when it comes to “Straw Dogs” and criticism; the negative side calls it needless, hypocritical exploitation – with the other claiming it to be a cinematic landmark that covers distressing topics with the largest amount of respect that a single visionary artist could possibly contain. Guess which side I’m on?
Before watching the film, I had never quite noticed just how much I love films set in villages that tend to carry a disturbing aura with them. One of my favorite films is “The Wicker Man”; a thriller often mistaken for a horror movie, but nonetheless I think it’s a masterpiece of both genres, unless it decides to choose one over the other. I thought it was such a good movie that it could not possibly choose just one genre; it shares elements of those two and many others – my favorite kind of movie. “Straw Dogs” is a film done in that tradition; with tension and build-up that certainly matches the said personal favorite in quality and memorability. Perhaps it also helps that Peckinpah’s film is – much like “The Wicker Man” – set in a village where everything from the homes to their inhabitants don’t seem terribly “right”.
English mathematician David (Dustin Hoffman) and his British wife Amy (Susan George) have just moved back to the latter’s hometown. They settle for an old farmhouse; which needs repairing, and the local townsfolk are more than happy to oblige, or so it seems. While the workers are trying their hardest to please; the relationship of the two lovers seems to be slowly deteriorating. There are differing viewpoints on the relationship itself from both partners; David believes that women should fulfill their respective and expected roles in a romantic partnership, while Amy feels the same about men.
However, these disagreements are the least of their problems. The men working on fixing the couple’s farmhouse are forever the source of many problems to come. They make fun of David behind his back and sometimes when he’s present; they ogle Amy’s beauty; and they are inconsistent in their labor. However, David proves to be a man of strong-will; and he tries to get along with the members of the community that will accept him for the Englishman that he is; among those who do are the town Major (T.P. McKenna) and the reverend.
We now come to the most challenging bit of this review; since this is a write-up of a controversial film that was widely talked about for one scene in particular (amidst the brutal, bloody violence that comes along in due time). The scene which I speak of is, yes, the infamous rape scene. One afternoon, the workers invite David to go hunting with them somewhere in a forest no too far from home; in fact, he could very well walk to the house from there. In a tragic turn of events, it is revealed that the men have tricked David; and they escape to his home, where two of them savagely rape Amy. It’s a prolonged, disturbing, graphic scene; which is easily why it is still loathed to this day; and with great passion. There are divided opinions when it comes to the scene; there’s an instance where Amy almost begins to invite the rape to go on for even longer; although my interpretation of her actions are simple – she was looking for an easy escape. She wanted the horror to end.
The final act also attracted much attention for its violent content. It involves the village outcast (David Warner) – shunned for his implied pedophilia and arrogance. He leaves a church dinner-and-celebration early; and brings with him a young beauty. Her father discovers this and brings the workers with him to retrieve her and bring the outcast to justice; but David and Amy get to him first and agree to hide the poor bastard in their home until all this clears up. Unfortunately, it does not, and the villagers will stop at nothing to get their hands on the guy. They are driven by revenge; David is driven by his good nature to protect a man who is, morally, sort of innocent. This is a long scene; and it’s absolutely essential to the film. You could say that, in a sense, it is the heart and soul of “Straw Dogs”. It completes Peckinpah’s artistic vision.
Hoffman is absolutely brilliant as a man who simply does not want any trouble; and those who portray any of the local hooligans are well-deserving of considerable praise as well. The performances are, all around, spectacular; although I think it’s the direction that takes center stage. Among other things, I was intoxicated by the flawless camera placement, the moody locations (Edgar Wright’s hilarious “Hot Fuzz” was shot around the same parts and contains some clever in-references to this film), and of course, the statements that the film makes on the nature of violence. It’s a deep, insightful piece of cinema. I enjoyed the way in which Peckinpah gave my imagination a much-needed workout with his slow-building tension; which is, in theory, some of the best I’ve seen in any thriller. Hey, that’s what I call greatness; I can’t say that the film is for everyone, but if you find yourself seldom inspired by today’s attempts at suspense and thematic brilliance; here is a movie that will, for better or worse, shake you until you’re dizzy – minus or plus the vomit.
Straw Dogs is Brutal, exciting and fun. Dustin Hoffman gave an incredible performance as well as the rest of the cast in this movie that is filled with gripping suspense and violence.