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Straw Dogs
(1971)
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Director:
Sam Peckinpah |
COUNTRY
USA |
Genre
Thriller |
NORWEGIAN
TITLE
Kjøterne |
RUNNING
TIME
117
minutes |
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Producers:
Daniel Melnick |
Screenwriters (based on a novel by Gordon M. Williams):
David Zelag
Goodman
Sam Peckinpah |
Review
Pitting Dustin Hoffman against
locals in an English village is quite the clever starting point. And
rightly, the
first half of Straw Dogs is intriguing, mostly because of Dustin Hoffman's
performance and the contradiction between his character and the
primitive nature of the locals, as suggested by the director Sam
Peckinpah.
The American Hoffman has settled down with his young English wife in the
Cornish countryside. And when the ostensibly cerebral Hoffman interacts with
the young lolita-ish
Susan George, the picture taps into a 1970s zeitgeist and reaches
its zenith of interrelational dynamism. However, after an intriguing and
at times multifaceted build-up, Peckinpah is held back by his usual
afflictions. He isn't able to be restrained or sensitive enough when
conducting his showdown. The ending becomes theoretical and staged; a
sort of brainstorming of how various people could react when pushed to
the limits. There's no real coherence between this ending and the
conscientious character development we've been exposed to during the preceding
hour – or with any rational human behaviour, for that matter. Despite
camouflaging as being interested in humanity and sociology in general,
Straw Dogs is really just an excuse for violence; for Peckinpah
to show
off his brashness and irreverence. He was such a talented filmmaker by
this point, but he wasn't able to put that talent into satisfactory use
from an artistic or entertainment perspective.
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