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IMDbPro

Lawn Dogs

  • 1997
  • R
  • 1h 41min
CALIFICACIÓN DE IMDb
7.4/10
9 k
TU CALIFICACIÓN
Lawn Dogs (1997)
Home Video Trailer from Trimark
Reproducir trailer2:02
1 video
71 fotos
Coming-of-AgeDrama

Cuando Devon, una niña de 10 años, forja una amistad con Trent, un forastero de 21 años que corta el césped del vecindario, las cosas de repente se vuelven muy complicadas y privadas.Cuando Devon, una niña de 10 años, forja una amistad con Trent, un forastero de 21 años que corta el césped del vecindario, las cosas de repente se vuelven muy complicadas y privadas.Cuando Devon, una niña de 10 años, forja una amistad con Trent, un forastero de 21 años que corta el césped del vecindario, las cosas de repente se vuelven muy complicadas y privadas.

  • Dirección
    • John Duigan
  • Guionista
    • Naomi Wallace
  • Elenco
    • Sam Rockwell
    • Kathleen Quinlan
    • Mischa Barton
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.4/10
    9 k
    TU CALIFICACIÓN
    • Dirección
      • John Duigan
    • Guionista
      • Naomi Wallace
    • Elenco
      • Sam Rockwell
      • Kathleen Quinlan
      • Mischa Barton
    • 114Opiniones de los usuarios
    • 52Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 7 premios ganados y 4 nominaciones en total

    Videos1

    Lawn Dogs
    Trailer 2:02
    Lawn Dogs

    Fotos71

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    Elenco principal16

    Editar
    Sam Rockwell
    Sam Rockwell
    • Trent
    Kathleen Quinlan
    Kathleen Quinlan
    • Clare Stockard
    Mischa Barton
    Mischa Barton
    • Devon Stockard
    Christopher McDonald
    Christopher McDonald
    • Morton Stockard
    Miles Meehan
    • Billy
    Bruce McGill
    Bruce McGill
    • Nash
    David Barry Gray
    David Barry Gray
    • Brett
    Eric Mabius
    Eric Mabius
    • Sean Torrance
    Angie Harmon
    Angie Harmon
    • Pamela 'Pam' Gregory
    José Orlando Araque
    • Salvador the Mailman
    Beth Grant
    Beth Grant
    • Trent's Mother
    Tom Aldredge
    Tom Aldredge
    • Jake - Trent's Father
    Odin the Dog
    • Tracker
    Tafeki the Dog
    • Tracker
    John Bacon
    • Neighbor at Barbecue
    • (sin créditos)
    Khris Colgate
    • Neighbor at Barbecue
    • (sin créditos)
    • Dirección
      • John Duigan
    • Guionista
      • Naomi Wallace
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios114

    7.49K
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    Opiniones destacadas

    Siskbert

    Fairy-Tale Inspiration

    I am baptized in the blood, `bathtubs full,' of wild dogs, chicken dinners, and a little fairy princess. Last night I viewed "Lawn Dogs" for the second time in 5 days. I just couldn't return the tape without another look-see, even if it makes Block Buster $2 richer and me $2 poorer, for the awareness and inspiration this fairy-tale masterpiece has imbued me with are priceless. Like Trent in the film, I am alive with the hope that flight from any kind of poverty, financial or spiritual, is possible.

    On the surface, the story seems to revolve around the relationship between a young man, Trent, and a little girl, Devon, and between the two struggling economic classes that they come from. But the magical cinematography throughout the film, and more than that, Devon's running fairy-tale narration, allude to a deeper meaning in the film that is revealed absolutely in the last five minutes. After all, there is nothing in the world around us that is not represented by symbols within us, and how can we tell whether the inner symbols we deal with represent things outside us, or things within us? It is natural for the world to discourage a relationship between a sexually-active male, and a prepubescent, vulnerable, hungry-for-friends female. It is also natural for the world to discourage an individual from relating to the power within himself, perhaps represented by said young female, to imagine and pursue a better life for himself, when it means he will flee the status quo that makes the rest of the world comfortable.

    The setting is a highly artificial, unabashedly bourgeois, gated community in Kentucky, `Camelot Gardens' (see, we're already alluding to fairy tales), and the surrounding countryside, wherein Trent lives in a trailer, making, what can loosely be called, a "living" by mowing the lawns of the rich in Camelot Gardens. The two heroes first meet when Devon happens upon Trent's trailer while wandering into the woods to sell cookies (her capitalist parents' idea), reciting to herself a version of the Russian fairy-tale about the contest between a little girl, like herself, and the witch named `Baba Yaga.' She continues her relationship with the at-first-reluctant Trent, as he continues to mow her parents' lawn. Whom she identifies Baba Yaga with, that is, who is evil in the world, evolves with the story. In the end, she realizes where the true evil lies, and uses the magic charms of her youthful idealism to aid the flight of the oppressed.

    I really enjoyed this film. It not only inspires hope, but also possesses a depth sorely lacking in the majority of American films. Much of the symbolism in the story seems to be lifted directly from classical mythology: From the open nakedness of both heroes in the beginning, a necessary reduction of the self to its bare essentials before it can be remade into something new, Trent holding up traffic to dive naked from a one-lane bridge into the local river, a kind of spectacular baptism into a new beginning, and Devon removing her nightgown to bay from her rooftop, like some essential mythic beast imploring the gods of night; to the adorning, i.e. honoring, of the tree outside the door of Trent's trailer, the Sacred Tree, Ygdrasil, the Tree of Life, so honoring life itself, and the demands that life makes of us; to the maenadic frenzy of the dancing chicken feet, a maddening after-chicken-death/chicken-dinner dithyramb; to Trent's conquest over the infernal hound, a Doberman named `Tracker,' who guards the homes of Camelot Gardens, and perhaps guards as well the path to personal power, the hound who, like Cerberus, turns away all cowards (chickens) from the inner realms; to the magic towel and comb of divine deliverance (more on these two symbols below) at the end; the story is full of age-old symbols that affect us deeply, transforming us or renewing us, without our knowing how.

    The following passage is taken from Marie-Louise von Franz's `Interpretation of Fairy Tales.' It will help the reader to understand the meaning of the magic comb and towel. (In von Franz's story, a red handkerchief substitutes for the towel.)

    Says von Franz:

    The girl runs, throwing her magic comb and her red handkerchief behind her. Bestrewing one's trail with objects is characteristic of the magic flight. This act of throwing away things of value is a sacrifice; one throws things over one's shoulder to the dead, or to spirits, or to the devil, to propitiate those whom we dare not face. It may seem panicky to abandon valuable possessions when one is escaping, but one who stiffens himself into a defensive attitude is easily cut down by an assailant stronger than himself, whereas stripping oneself gives mobility. There are situations in which one absolutely has to give up wanting anything, and in this way one slips out from under; one is not there any longer, so nothing more can go wrong. When one is confronted by a hopelessly wrong situation, one must just make a drastic leap to the bottom of passive simplicity, and from there one can live it out.

    What is more, the objects which have been sacrificed generally transform themselves into obstacles for the pursuer. The comb at once turns into a forest and becomes a part of nature – the hair of mother earth. Its transformation into a natural object suggests that originally it was an integral part of nature. Actually, there is no thought or instrument or object that has not originated from nature; that is, from the unconscious psyche. One sacrifices to the unconscious what once was wrested from it.

    The comb is used to arrange and confine the hair. Hair is a source of magic power or mana. Ringlets of hair, preserved as keepsakes, are believed to connect one individual with another over a distance. Cutting the hair and sacrificing it often means submission to a new collective state – a giving up and a rebirth. The coiffure is frequently an expression of a cultural Weltanschauung. Primitive folk tales speak of demons being deloused and combed when they are caught, which means that the confusion in the unconscious has to be straightened out, ordered, and made conscious. Because of this meaning, hair in wild disarray is often dreamed of at the start of an analysis. The comb, therefore, represents a capacity for making one's thoughts ordered, clear, and conscious.

    The red handkerchief that the girl gives up becomes a flame soaring from earth to heaven. To abandon the staff and comb meant not attempting to marshal herself or to think out a plan. Now the flame indicates that she puts an inner distance between herself and her feelings and emotions. She is reduced to a passive simplicity.

    In the tale, the gaping jaws devour the forest and spit water on the flame. Water and fire battle in the unconscious, and in the meantime the girl escapes between the opposites.
    9fertilecelluloid

    Brave and perceptively written drama

    This superb film, directed by John Duigan, the gifted director of THE YEAR MY VOICE BROKE, is about a friendship between a young girl (Mischa Barton of "The OC") and a free-spirited young, adult man (Sam Rockwell).

    It's self-aware enough to acknowledge the inherent sensitivity of its subject matter, but it doesn't cave into conservative conclusions about how such a relationship ought to be portrayed.

    At heart, LAWN DOGS is about trust, not the death of innocence or the festering political correctness all around us that sees danger in every unconventional relationship. It does touch on the subject of sexual abuse, but it doesn't come at it from the angle you'd suspect...and that's the whole point, isn't it? Sexual abuse, for the most part, usually visits as someone you've known well enough to trust completely.

    Beyond its politics, this is a unique, bracing fantasy that is more European than American (or Australian) in its view world both morally and visually. The climax is an unexpected treat and its moral resolution arrives just in the nick of time.

    Sumptuously photographed and written with great intelligence by Naomi Wallace, it dares to be erotic, provoking, unconventional and incisive.

    Don't pass it up if you get an offer.
    7smatysia

    Must see Mischa Barton in this film

    Mischa Barton really blew me away in this film. I usually don't care much for child actors, and I went into this film thinking that way. But Barton seemed, with few exceptions, to BE her character. But there's a lot more than just pretty good acting from a precocious child. Barton was a major league charmer. You just couldn't take your eyes off her whenever she was on-screen. Sam Rockwell was decent, and no one else really showed much except maybe Angie Harmon in a small part. (She did have a rare topless scene in this film) But most of the characters do weird things, with no tie-in at all to any reason for their conduct. I think this may be thought by some to be character development, but I think it is either laziness or insufficiently imaginative screenwriters. But in any case you should check out this film just to see Barton. Grade: B
    bob the moo

    Moving and involving story of friendship which acts as an ode to the American poor

    Trent is a young man living in a trailer in a wooded area beyond the suburbs. He makes a living cutting the massive lawns of the populace of a gated suburb village. He befriends a young girl from within the suburb, who herself has some stability issues, despite being only 10 years old. The two build a friendship despite the resentment towards the `white trash' Trent from within the suburb,

    I didn't know what this film was about before I sat and watched it, reading the plot summary in the tv guide as the title sequence began, I wondered if I would bother, but I'm glad I did. The film works on several level – the most apparent of which is the simple story of a friendship that is threatened. This part works well as the friendship never seems forced and, although the spectre of sexual tension is there (in Trent occasionally feeling uncomfortable), it is not a strand that is actually part of their relationship.

    This all works well due (in most part) to two great performances from Barton and Rockwell. Barton shows amazing maturity and ability to carry the role off without it being like many child stars (where it is clear they are forcing everything). Rockwell meanwhile is a mass of subtleties and little touches that make his character likeable.

    However this part wouldn't work as well if it weren't for the wider theme of the trash being poorly treated by the smugger middle classes. This theme creates the reason for the threat to their friendship (more or less) but it also serves as a humbling attack on a class that lives a selfish, scared life behind gates with private security guards. Such places are increasingly common in America and this film is clear as to their effect on both those inside them as well as the wider community of America. Although it keeps a gentle tone for the most, the film depicts those in the suburb as selfish, aloof and fearful. Even more condemning about this depiction is that it never feels like they have been exaggerated or monsterised in any way!

    The script is well written and certainly makes the actors jobs a lot easier – certainly Barton benefits from great dialogue and character development. Rockwell meanwhile benefits more from direction as much of his best work is not dialogue based. McDonald, Quinlan and McGill all do solid work in support. The end of the film is a little worrying as it appears to veer off at a tangent, but the final sentiment is beautifully presented and encouraging (albeit due to a child's apparent naivety).

    Overall this is a lovely film that I'm very glad I watched. About more than just an adult/child friendship, this film is moving and involving in both it's core plot and it's wider themes.
    8Hermit C-2

    A little bit of magic.

    This is the kind of movie that independent film fans search for and hope to find. It's well-written, acted and directed with a story that's off the beaten path a bit, to be sure. It concerns the odd relationship between two people who don't exactly fit in the world an upscale suburban housing community. One is a 10 -year old girl named Devon (Mischa Barton) whose parents want her to be the perfect little daughter. She'd rather live in her own world, one in which she entertains herself with her favorite fairy tale of the child-menacing witch, Baba Yaga. The other is a twentysomething yard worker named Trent (Sam Rockwell), who is treated in this paranoid community almost like a black South African under apartheid, i.e. get in, do you work and get out.

    Both of them display their non-conformist behavior early on. She climbs out her bedroom window to her roof, takes off her nightgown and watches it magically float away into the night sky. He stops on his way home from work on a one-lane bridge, blocking the traffic, and proceeds to disrobe and take a leap into the river below. Devon gets interested in him, especially after she witnesses his blatant and subtle humiliation at a neighborhood cookout, where he's come to get paid for some work. She more or less stalks him at his mobile home, even spying on him making love to one of the community's young women, a girl who will barely acknowledge him otherwise. Trent tries to shoo Devon away at first, but he can't help but be flattered by the young girl's interest.

    Of course the potential for misunderstanding in this kind of relationship is great and it inevitably happens. I feared that the movie was about to fly apart after Devon's father and some others confronted Trent, but the fantastic ending (fantastic in the sense of fantasy) made me smile. If you are looking for something different, this movie definitely qualifies.

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    • Trivia
      Randy Peterson, the stuntman who doubled for Sam Rockwell in the dive off the bridge early in the film, performed the stunt a total of six times - five times completely naked, and once wearing briefs (in case an alternative shot would be needed for a US TV version). The bridge (in Louisville, Kentucky, USA) was 30 feet high and the water around nine feet deep.
    • Errores
      When Devon pours a glass of water for Trent it is less than half full. In the next scene outside it is seen to be more than half full even after splashing it about.
    • Citas

      Devon: Home is in my hands.

    • Versiones alternativas
      For showing on US television, all of the profanity was dubbed over with less extreme words, the sex scene between Trent and Pam (at around 20 minutes in) used an alternate take where they are wearing clothes as opposed to them being nude in the original, and the scene where Trent dives off the bridge completely naked (at around 10 minutes in) used an alternate take with him (actually a stunt man) wearing underwear. The alternate takes were filmed with the intention of this being shown on TV in the US. The version streaming on several internet services (Amazon, Tubi, etc.) is this censored TV version.
    • Conexiones
      Referenced in Padre soltero (2004)
    • Bandas sonoras
      Shake And Shiver
      Performed by Jubilee

      Courtesy of Silvertone Records, Ltd.

      Written by Ross Baxter, Chris Holditch, Garron Firth and Lee Severin (as Baxter/Frith/Holdich/Severin

      Used by permission of Zomba Music Publishers Ltd.

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    • How long is Lawn Dogs?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 21 de noviembre de 1997 (Reino Unido)
    • País de origen
      • Reino Unido
    • Idioma
      • Inglés
    • También se conoce como
      • Лугові собачки
    • Locaciones de filmación
      • Oldham County, Kentucky, Estados Unidos
    • Productoras
      • The Rank Organisation
      • Toledo Pictures
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 8,000,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 106,404
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 22,491
      • 17 may 1998
    • Total a nivel mundial
      • USD 106,404
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 41 minutos
    • Mezcla de sonido
      • Dolby Digital
    • Relación de aspecto
      • 1.85 : 1

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