Straw Dogs

It is certainly possible to look at STRAW DOGS as nothing more than a simple story of a man defending his house, his animalistic insides unleashed by a group of Cornish hoodlums. On that level alone it is a terrific piece of film-making backed up with highly textured acting from the two principals. But there are layers and layers and layers in this film, and that is what makes it art, and a masterpiece. Peckinpah himself told people that Dustin Hoffman was the heavy, and the movie was a portrait of a bad marriage. Try watching with those two facts in mind, and the film takes on a whole new complexion. The Criterion Collection two-disc set of STRAW DOGS is excellent, from the Peckinpah documentary to interviews with Susan George and the producer, to the audio commentary track. I agree with other reviewers who stressed that Peckinpah wasn't interested in "solving" problems; he wanted us to look at ourselves, and cringe.

So you think movies are violent today, huh? Think again. Sam Peckinpah's highly charged, extremely intense, brutally violent 1971 pic is an underrated masterpiece, in my opinion, that redefined cinema violence forever (as if "The Wild Bunch" wasn't enough). It is one of the best directed, most fluidly edited pictures that I've seen in recent years. Today's films don't even come close.

Allegedly banned in the U.K. to this very day, "Straw Dogs" came to me out of nowhere. I had heard good things about it, but never really caught onto it, until one day when I was at a video store browsing around for no apparent reason. I had absolutely no money and wasn't planning to buy anything when all of the sudden, I saw it . . .

WIDESCREEN - UNCENSORED,RESTORED - COLLECTOR'S EDITION

I had never even seen the movie and I wanted to buy it! I mean, hey, it WAS the last one left.

So I took a huge risk, got a loan from my mother, used all the two-dollar bills I had been saving to pay her back, and bought it right out. And then, I viewed it later on that night, praying I hadn't wasted my time. AND: I was floored. The film literally knocked me out, kept me peeled to the screen at every instant, left me disturbed for days to come. I mean, let me tell you, go out and rent this, buy this, anything, just see it! Although it is moderately paced, the film remains intense the whole way, and takes an unexpected turn into extreme violence towards the legendary ending, a showdown worthy of multiple viewings (watch "Fear" to see an amateur retread).

So it goes like this: Hoffman plays a wimpy mathematician who flees with his wife George to the peaceful countryside (to get away from violence!), only to be ravaged by the locals who just wanna start trouble. It is the ultimate test of manhood, showing us (in a somewhat biased manner) that it takes aggression to get what you want and keep what you have. You'll be amazed at Hoffman's "transformation" (we all know deep down that EVERYONE'S got it in them somewhere), but it makes you think, especially when Hoffman has to defend his home from several large armed men WITHOUT USING ANY WEAPONS, only his brains and some household appliances.

I'm surprised that this is such a forgotten film. There aren't enough people who can actually claim to have seen this picture or even know what it's about. I find that hard to ingest, being that it was one of the most controversial films of its day. But it IS very brutal, especially the once trimmed rape scene, restored on my copy, a scene that I find to be the most intense. However, today's moviegoers may not agree.

So see "Straw Dogs," the movie that single-handedly turned me into a Peckinpah fan. The editing is Oscar-worthy, the acting is magnificent, the situations are well thought out, and the characters are fleshed to the bone (sometimes literally). I promise you won't leave disappointed.

#5 on my Top 200 List, **** outta **** on my personal scale.

In the early 2000s, there was a breakout of movies labeled as "torture porn", which all had three main factors. First, they were intended to make the audience feel the same utter desperation as the tortured characters on screen. Second, they almost always had a deep social portrayal. And, third, they were always rejected by hypocritical critics who failed to see intelligence in desperation, then went off and praised hollow "fine cinema" pieces for "saying something about the human condition". These types of films have always interested me because they mix unrelenting pace with a non-genetic message about how humans tend to think. And I find it interesting that Straw Dogs (1971), while not really a "torture" film, has every single aspect I just listed. While it's gained a lot more credit today, in its time, it was just as hated by the critics as "torture porn" is now. It's funny how easily society can completely be in denial when a movie like Straw Dogs says something about the human condition no one will dare say, while society can then go and praise some completely hollow, cliché-spewing film like (excuse the modern example) No Country for Old Men. I find that hypocrisy almost comical. And I think, maybe, that was one of Straw Dog's points.

So what makes Straw Dogs so intelligent? Well, first, it is simply one of the few accurate portrayals of REAL human emotion in cinema. Realism is a word that is thrown around constantly by writers/directors, but as Hollywood gets closer to what it thinks is realism, it just takes five steps back from being truly anything like how real humans think. Very few movies have ever achieved truly expressing how people interact without turning the characters into some podium to preach some idea the writer/director has, or just turning the characters into pieces of cardboard that move the plot along. Contrary to popular belief, the greatest acting in the world can't fix unrealistic characters. That works just about as much as a pretty coat of paint fixes a house that's ready to collapse in on itself. The emotion is Straw Dog's shining point. The two main characters' emotions are portrayed differently in every situation. One scene will end with a loving moment, then the next will open with a bitter one, then the next will open with completely indifference. Things that should have an emotional impact on the characters doesn't have any whatsoever. Actions that should cause them negative emotion cause them pleasure. Just when you find a character totally likable, they'll do something to ruin that feeling—a lot like the betrayal of a friend. Put simply: I've seen countless movies in my life, but never once have I seen a movie with this much of a realistic emotional core.

Likewise, without spoiling anything, Straw Dogs goes where no movie in its time dared to go with its subject matter. While I wouldn't necessary call every idea presented here original, some of them are, and not a single one of them is a cliché. It's very relatable to A Clockwork Orange—which came out the same year—in that way. I find it sad, however, that A Clockwork Orange is now considered some sort of classic, while Straw Dogs is still lesser known to the general public than a lot of foreign indie films. Straw Dogs nearly singlehandedly formed the groundwork for the thriller genre, and its influence can be seen in everything from other 70s movies to whatever cliché thriller is playing at the local theater as I type this. The ending is pure intensity, and very few movies can pull that off. The kills in the end of the film are a lot more graphic than anything I expected from a 70s film, and some are just brutal. Straw Dogs deserves more recognition.

So, if my review is entirely positive, why do I not give this a higher score? As much as I can relate to this movie, and as much as I appreciate it, I think giving this a perfect score is an insult to what the director was going for. Sam Peckinpah didn't want this film to be entertaining; he wanted it to truly disturb the viewer. Though that may be a little hard to do now in 2009, due to the countless rip-offs and rehashes of the subject matter, this is nowhere near easy viewing. Perfection is an extension of contentment, and I personally was not content with this movie. I wasn't supposed to be. It's a point-blank contradiction to the Hollywood formula that states you have to make the viewer go in their pants out of awe/contentment or you haven't done your job. That's why I can't give Straw Dogs a perfect score, but it didn't want one. It's too honest for that. It's too intelligent for that.

7/10

Peckinpah's post- 'Wild Bunch' movies were a mixed bag. Frequently battling studios, censors and/or his own demons, some are genuine classics ('..Alfredo Garcia'), some are entertaining potboilers ('The Getaway'), and some like 'Straw Dogs' are in between. I could never argue that this movie is his best work, but it is far from his worst, and whatever you can say about his movies, they are ALWAYS interesting.

'Straw Dogs' is the closest he came to making a genre horror/thriller movie. If you enjoy 'Rio Bravo'-inspired siege movies such as Romero's 'Night Of The Living Dead' or Carpenter's 'Assault On Precinct 13', check this one out. But it is more than "just" a thriller - it features strong character development, and morally ambiguous situations among the tense build up to the explosive climax.

In these P.C. times 'Straw Dogs' offers no simple answers, but plenty of issues for discussion, and it is to be commended for that. "Right" or "wrong"? YOU decide!

American scholar David Summer and his wife return to her home village in Cornwall to give him peace and quiet to write his book on astrophysics. However Amy meets up with her old boyfriend and his friends, who offer to carry out repairs on the house for David. He agrees but finds that the locals treat him as an outsider resulting in further pressure on the Summer's already fracturing marriage.

I, like many of the reviews written here by users in the UK, took the opportunity to watch this film when it came on tv for the first time in the UK since it was released. I deliberately taped it and left it for a month or so before watching as I wanted it to be free of the hype and controversy that the network had stirred up with documentaries just before they screened it. Watching it away from all this it is difficult to see what all the fuss was about in some regards. Certainly what is socially acceptable in a film today is far beyond what was passed by censors then.

The plot is a strange mix of relationship drama and western. It is easy to focus on the stand off element of this film and the violence of the second half, but I don't think that that is what the film was about. One user called the first hour or so `a very slow build up', however by saying that, the suggestion is that the film only exists to deliver the concluding part. Rather, I got more from the film as a whole and found the `build up' to be interesting as it showed David's marriage cracking and crumpling, slowing exposing the issues and frustrations that exist just below the surface in their relationship. The fact that the action at the end of the film is relating to the underlying frustration Amy had with her husband's inability to `take a stand', indicates that this is the focus of the film.

Regardless of this, it still isn't a fantastic film. It is very slow at times and not all of it has been as well developed as hoped. Cornish locals are all mistrusting inbred hicks who are shifty says the film, which may or may not be true but it would have been better to have a better mix of local characters. The rape scene itself is difficult because for part of it Amy submits and appears to be enjoying and consenting, before others get involved and it becomes full violent rape. Questions over other issues suggests that the film maybe lingers to long on disturbing scenes but the fact that the film also shows the aftermath of the rape is to it's credit.

Due to the stereotyping, not all the actors get a chance to do good work. Hoffman is OK but I found his character difficult to get into. George is not as well developed as I would have hoped but is improved after her ordeal. The support cast of locals are not allowed to go much further than `get off me land' cliché and give lesser performances as a result.

Overall this was an interesting film as it all seems to be focused on the couple's marriage rather than the detail of who is being sheltered in what house etc. Taken on this level it is still far from perfect. The only thing I'm sure of is that anyone drawn to the film simply because of the hype in the press will probably miss the point altogether.