|
|||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
Straw Dogs speedily starts up, without casual dialogue, barely any setup for the location of rural England, and no introductions for any of the roles; immediately we’re given perturbing character development and foreshadowing (some of it blatant and some of it brilliantly obscure). The first thing we see of Amy (Susan George) is her lack of a bra under her turtleneck. She appears overly flirtatious, but we’re not meant to know exactly how aware she is of it. She’s also rather childlike and regularly poses a nuisance for her husband, David Sumner (Dustin Hoffman). He recognizes her behavior instantly, and is smart enough to be paranoid (rather than suspicious), especially when some of the townspeople similarly take notice. He’s an American mathematician intent on writing a book, somewhat meek, wears glasses, is scholarly, mature, and definitely out of his element. The village folk seem to know everything about him: where he lives, what he’s working on, and his daily routines on the farm he’s recently moved into. Amy has an ambiguous past in the town, but isn’t fond of the suggested romantic remembrance of her old friend Charlie Venner (Del Henney), who she knew more intimately six years ago. Yet he’s still hired, along with his cousin, to assist in the construction of a roof on Sumner’s garage. Charlie’s uncle, Tom Hedden (Peter Vaughan), a belligerent drunk who frequents the pub where David becomes a target for mockery, is also destined to orchestrate evil. When the couple discovers their pet cat, brutally strung up in the closet, Amy suspects the two original contractors, Scutt (Ken Hutchison) and Cawsey (Jim Norton), cruelly proving their ability to walk all over David’s authority. |
|
|
Amy is incredibly complex. She’s quick to question David’s manliness, challenge his bravery, and goad him into confronting the workers. Her manipulation can be seen as juvenile, assertive and effective. Her husband fails to be as chivalrous as she hopes, and instead goes bird shooting in the moors with the roofers the following day. This leads to the film’s most controversial moments – Charlie leaves David out in the wilderness to go back to the cottage and rape Amy. While the assault is clearly unwanted, many critics and censors found it hard to ignore her apparent acceptance of Charlie’s actions once the deed is underway. One could argue that her mentality is legitimate as a defense mechanism, but others claim she wasn’t entirely unwilling (although she definitely suffers from trauma). At the end of the film, when she’s attacked again, she cries out for Charlie to help her instead of her husband. Regardless, Straw Dogs’ approach to sexuality and sexual violence was too far ahead of its time for moviegoers, resulting in poor box office results and heavy censorship. Amy’s conduct is mirrored by Heddon’s teenaged daughter Janice (Sally Thomsett), who parades around in clothing much too provocative for her age. She also goes out of her way to socialize with the town’s Lennie Small-like child molester, Henry Niles (David Warner). Complicated, mixed emotions are continually exhibited from each of the characters – even, shockingly, from the lead rapist, who largely disapproves of sharing his conquest. Many are shown through contemplative, calculating eyes, while others are presented with slow motion, rapid flashbacks and frightening juxtaposition of contrasting or ear-piercing events. Conflicting, shifting attitudes add to the major themes of cowardice and intimidation, as David is eventually brought to his breaking point. While much of the beginning taps into psychological thrills, the harrowing conclusion finds the once timid man lashing out in a startlingly violent, sensationally edited fashion. Although he’s harboring Niles, and liquor fuels Tom Hedden’s mob of tormentors, David desperately wants to prove to his chastising, uncooperative wife (and himself) that he has what it takes to stand up against bullying. While questionable viewpoints toward women and violence and its justification are debatable, the ending is breathtaking as an out-of-control, pulse-pounding revenge fantasy. Like Stanley Kubrick with A Clockwork Orange (opening the same year), director Sam Peckinpah once again establishes that he can artistically, convincingly and purposefully portray violence. - Mike Massie
Click HERE to read the review of Straw Dogs (2011)
The STRAW DOGS Blu-ray has been carefully restored and is presented with all-new 5.1 audio. STRAW DOGS Blu-ray Special Features * Original Theatrical Trailer
|
More
Recent Reviews:
Recommendations:
|
What's the point of remaking this movie? James Marsden and Kate Bosworth are good actors, but I've already heard that the remake is almost identical to the original. There's no point at all. Hopefully director Rod Lurie brings something new to the table.