Canicule

I was browsing the reviews for this before I saw it and noticed the negative comments and low ratings. Unfortunately many reviewers were giving the key moments of the plot away without warning. When I watched it, in French I thought it was a superb black comedy. Not as stylish as a Tarantino film but actually much better in substance. Lee Marvin does an amazing job doing his own lines in French. I was wondering why the others had found the film risible and upon investigation I found the American dubbed version streaming, which IS risible. People should understand that to do justice to this film, an English language version would cost almost as much as the original film and is well nigh impossible. American dubs of Franco-Italian cinema are hardly ever worth watching. Even if you don't understand French, the subtitles plus the music of the delivery, the intonations, are enough to experience the original. I don't know how easily you can find a French language version with good English subtitles though.

Not to be underestimated, this French black comedy of sorts stars Marvin in one of his last film roles as a fugitive bank robber, but he's really more of a plot device to showcase the crazy antics of his French co-stars, each with their own offbeat characterisation proving more dangerous than Marvin himself.

Lovely Miou-Miou is the film's leading lady, a captive farming wife of an abusive husband (Lanoux) who sees Marvin as her opportunity for emancipation. Man-child Bennent is a highlight playing a smart-mouthed inbred kid, himself a victim of the Lanoux character's rough handedness who clues onto Marvin's gambit from the outset, setting himself up as the hero of the ensuing farce making for a satisfying climax.

Also grabbing the attention is Bernadette Lafont playing one of the toothless farmhouse occupants with a comically lubricious lust for carnality. Virtually the entire cast play a whacky assortment of oddballs, offset (ironically) by Marvin as the only predictable character in the plot. Apart from Marvin, the only other native English-speaker in the cast is Tina Louise in a small supporting role as one of Marvin's accomplices during the opening heist.

Well photographed with sharp dialogue, a catchy bass guitar sound and overall sympathetic characters, 'Dog Day' might be an unknown quantity for most casual Marvin fans, but is surely worth a look if you're open-minded to a bit of depraved French farmhouse farce.

Although I haven't seen every one of his movies, I am reasonably confident to call "Dog Day" the strangest movie Lee Marvin ever appeared in. Why he decided to appear in it, I have no idea, especially since he was still a big star back home in the United States. Fans of Marvin will likely be disappointed by the fact that Marvin doesn't appear in this movie as frequently as he does in his other movies - in fact, he almost becomes a secondary character. The other characters in the movie are a real weird lot, disappearing and reappearing seemingly at random, and acting in random ways when they do appear. Certainly, the movie at first does command your attention because you've likely not seen anything like it before, but it soon becomes tiresome, and you likely won't care what happens at the end when it eventually gets there.

Jimmy Cobb is a tough as nails gangster on the run in France. He's got a hot couple of million with him, and the cops are on his tail. In the idyllic countryside, Cobb takes refuge at a farmhouse to plan his next move. Little does he know that his situation is about to become even more complex, for the family whose barn he's in are a depraved bunch just as bloodthirsty and cruel as he is. Will Cobb be able to escape the farmhouse with his loot before the authorities or the family- led by a malevolent and diminutive boy named Chim- stop him dead in his tracks?

Directed by Yves Boisset, 'Dog Day' is a misguided mess of a movie. The screenplay is credited to a whopping six different people, which is unsurprising considering the disjointed nature of the narrative. It feels like the six writers were all working on separate projects, which one of them tried to combine; unsuccessfully, one might add. The result is an uneasy mixture of gory violence, farcical comedy and gangster romanticism that is tonally schizophrenic and totally underwhelming. Which is not even to mention the numerous stilted lines of dialogue or the plethora of sub-plots that go nowhere, as well as the paper-thin characterization and misogynism exhibited continuously in the film.

Despite all that, 'Dog Day' does inspire rumination. Is it meant to be a commentary on the conventions and aesthetics of crime thrillers? If so, is the inclusion of cliché after cliché actually a highly calculated and brilliant move, rather than evidence that the filmmakers were bereft of any original ideas? Are they trying to satirize the genre, or pay homage to it? Is the film saying something profound about viewers' responses to violence? Does Boisset even care that audience members wonder about these things?

Sadly, putting the effort into thinking about those questions is a lot more than 'Dog Day' deserves, for it is a technical dud as well as a creative one. Jean Boffety's cinematography is ugly and uninspired, with the few interesting stylizations and sequences being stolen from other films ('Prime Cut,' most notably). Never before has such a beautiful landscape been captured with such little verve or style. Unfortunately, the underwhelming visuals are matched by Francis Lai's melodramatic score and bolstered by the cheap sound design and effects.

Were the film well-acted, the above detractions might not be so overwhelming. Alas, the performances from the cast vary wildly. Lee Marvin stars as Cobb, delivering a measured performance; though he does seem bored and exhausted throughout. One of his last cinematic outings, Marvin deserved a better project than this- and it looks like he thought the same. Miou-Miou co-stars, also doing fine work, though her role is terribly underwritten, and there is little she can do with the character. The same can be said for Jean Carmet and Tina Louise- their talents are largely wasted.

Then there is David Bennent, who the director obviously adored. A young chap of ten or so, he plays Chim; an odious little tyke who redefines the meaning of irritating. An incredibly over-the-top performer, Bennent has no screen presence to speak of, and is something of a charisma vacuum. Why his character is made the central one- and why he was cast in the first place- is thoroughly beyond understanding. As for the rest of the cast: they're no better than Bennent, and warrant no more mention than that.

A cheap-looking effort made without passion or originality, 'Dog Day' is a creative and technical travesty. Though featuring a strong performance from star Lee Marvin, even he cannot save this one from the realm of mediocrity. The cinematography is nothing to write home about, the score is overblown and many of the performances are irritating. There is really very little reason to watch it, unless you're a die-hard Marvin fan- but even then there are better ways to spend your time. In short, 'Dog Day' is underwhelming, uninspired and ugly.

This film was just downright depressing for me as a sleaze-movie lover and a fan of the great Lee Marvin. It had all the right elements, but the director, Yves Boisset, really screwed this film up. I blame him for everything that is wrong with it. His direction is so sloppy and third-rate I couldn't even tell what the hell was going on half the time. It could have been an interesting, if somewhat disturbing, black comedy. As other reviewers have stated, there are similarities between this film and Marvin's Prime Cut, but that film found a good balance between the repulsive and the humorous. This one fails on almost every level. It isn't even worthy enough to go into detail of its flaws. Also, Lee Marvin is totally wasted in this film. Once the first 5 minutes are over he is given absolutely nothing to do. Boisset had this incredible actor in the twilight of his career to work with. He could have made it into a sort of Last Great Film for the man, a study of a bad guy at the end of his life played by an actor famous for playing bad guys near the end of his life. Instead, that honor goes to Gorky Park. But I guess none of that really matters as Marvin was very sick during the making of this film, and you can tell. He seems tired, bored, and physically he looks haggard and ill. You can practically see his skull through his skin. This is NOT the way you will want to remember this great actor, so please, if you like Lee Marvin, do yourself a favor and honor his memory by never ever watching this movie. You have been warned.