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Straw Dogs(1971) reveals a primal human action that is the driving force behind its characters. As with Deliverance(1972), Straw Dogs also is fascinated with the violent urge within the human soul. The primal aspect of the human being is provocatively examined in Straw Dogs(1971). Sam Peckinpah forcefully depicts issues that were hinted at in The Wild Bunch(1969). Paints a dark picture of humanity with the person's frightening ability to harm at any time. The title of the film ties in perfectly with the nature of the story.

An interesting example of a vigilante film before the subgenre became fashionable. Films before had dealt with the theme of revenge but rarely as brutal or primal as in Straw Dogs(1971). Predates Death Wish(1974) by three years. The uncredited inspiration for Death Wish(1974) and others of its kind. Both films include Meek liberal men who explode with violent anger in different ways. Shows revenge and the consequences behind the act of revenge in a realistic dimension.

Straw Dogs(1971) marked the first film Sam Peckinpah did which wasn't a Western. The film's direction creates a powerful piece of cinema with a strong European sensibility. Its a shame Sam Peckinpah never did more European Thrillers after SD. One film which mixes the American style of Peckinpah's Westerns with the European touch of Straw Dogs(1971) is Bring Me the Head of Alfredo Garcia(1974). At times the movie looks as if it could have been done by Hammer Studios. An indication that the late filmmaker could succeed outside of the Western genre.

Good at showing that any person(even peaceful natured)can be capable of violent action at any given moment. The interactions between David Sumner and the Village Reverand is filled with subtle hostility. Represents the conflict between religion and science which is wittily enforced in the dialogue between the two. The locations of Cornwall becomes an important part of the film's emotion. Intense atmosphere is what gives the film a tinge of horror. Straw Dogs(1971) is in a couple of ways a British take on the Deliverance story.

There seems to be something autobiographical within the frames of the story. Deals with the idea of Man's violent rites of passage that Sam Peckinpah was only too familiar with. David Sumner symbolizes the private inner self of Sam Peckinpah's persona. The intense relationship between David and Amy Sumner was based on the director's experiences with marriage and relations with women. His direction of the actors is masterful. Has to be one of the director's most personal(perhaps his most personal)film of his directorial resume.

A notorious sequence from Straw Dogs(1971) is the infamous rape of Amy Sumner which plays a tricky balance between the abhorrent and the erotic without spilling over to either side. I can imagine the many people that were taken aback by this scene especially during the first rape when it turns into a love scene. Without the dark humor that was present in Stanley Kubrick's A Clockwork Orange(1971). Excellently edited scene with some powerful intercutting. Not an overly graphic scene but more psychological with the camera's focus on Susan George's face. Its the psychological abasement and reaction of Amy that is the true disturber of the senses.

There is an interesting sub plot between Henry Niles and Janice Hedden that is inspired by OF MICE AND MEN. The director was heavily influenced by the works of John Steinbeck, none so evident as in the characterizations of Henry Niles. Henry Niles is absolutely patterened after the strong but slow witted Lenny from OF MICE & MEN. David Warner pulls off an fantastic performance in a complex role. The scene in the church stable is reminiscent of Lenny and his bosses wife meeting in a barn during OF MICE & MEN. Henry Niles is alot like the misunderstood alleged witch of Don't Torture a Duckling(1972).

From the very beginning a confrontation between the house workers and David Sumner becomes inevitable. There is some major tension that grows to a boiling point until the hot pot explodes during the climax. The actors do a convincing job in displaying tension with their emotions. When the confrontation finally does happen everything becomes chaotic and violent. This part of the film may have influneced Wes Craven to a certain extent when he did Last House on the Left(1971). By the climax of Straw Dogs, David Sumner despises the house workers so much that he uses Henry Niles as an excuse to strike back at them.

Where the bloodbath at the film's finale reaches a fever pitch is when reason turns to bloodlust. When the confrontation began there were reasons for each group but as it progressed the two parties become more interested in killing each other. I find it funny that the two groups become less concern in finding Janice Hedden and more concern in fighting to the death. It just shows that protecting one's land or property is the most important thing to a man. David Sumner and the house workers battle each other in a manner similar to the landowners of the Middle Ages. Sombre use of slow motion effects and editing techniques turns the climax into a nerve twister.

Dustin Hoffman is very good in the role of the timid turned violent David Sumner. Susan George in her role projects both vurnability and eroticism. The film's climax would be rehased for the house attack in The Osterman Weekend(1983). When Sam Peckinpah also worked as a writer in his films the results were usually brilliant. This is the case with Straw Dogs(1971). Straw Dogs(1971) is an impressive film of an era when filmmakers were not afraid to take chances with risky subject matters.

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!

Home Watching Straw Dogs proves to be a haunting experience, one where brutal and graphic scenes of violence shock as much as the psychological tension and emotional imbalance presented by all the recurring characters. In a seemingly peaceful village in England horrible incidents occur one after another, and the thin line between good and evil becomes blurry, as the transitions that the characters go through change the way the audiences perceive the whole unnerving intrigue.

David Summer (Dustin Hoffman's most sinister role), an American mathematician, moves to the isolated town of Cornish along with his gorgeous, young wife Amy. Shortly after their arrival, all the citizens begin to show their dark natures, harassing and assaulting the two newcomers. In the film's most climatic and disturbing sequence, David decides to fight back against the oppression, and realizes that the only way to fight violence is to do it with even more violence. In a most suggestive manner,

Straw Dogs plays with the viewer's imagination, fiercely suggesting that David might actually be the antihero of the movie, and the source of all-evil in himself. His strangely unemotional attitude towards all the horrifying occurrences and – even more – towards the tragedy of his wife ironically makes him the antagonist of the film, and sort of a brutal animal that won't stop till he does too much damage.

The film became famous for its controversial rape scene, which is by far one of the most unsettling scenes of sexual harassment ever filmed. The bestiality and mockery that permeate the film almost all the time makes Straw Dog an emphatic affair where physical bloodbath must give way to deeply psychological struggles between the id and all its counterparts. Sam Peckinpah created a truly gory and forcible tale about bullying, in which man's worst nightmares suddenly turn into the realizations of his most ferocious ideas and dreams.

Straw Dogs is an intense thriller that shows what can happen when you push even the most mild mannered man too far. Dustin Hoffman plays a mathematician who temporarily moves to a house in a rural village in England with his wife, a former resident of the town, played by Susan George. The two withstand incessant needling from several of the townsfolk until George is raped and assaulted and Hoffman is pushed over the edge.

Incidentally, right after watching this film I found a documentary on cable about filmmakers from the late '60s to late '70s and one of the directors profiled was Sam Peckinpah. I had always considered his films to be violent and vaguely shocking, which never surprised me, knowing that he was a hard-living maverick who did things his way - an element that is resplendent in most of his films. A brief mention of Straw Dogs was included in this documentary, where they described it as a "sexist film". There are obvious scenes in the film that could support this criticism, but I think that is overanalyzing the film with a political correctness that is out of place. While the two female characters are both victimized, Susan George also has her moments of empowerment. I may be a female, but I don't consider Peckinpah's tendency to make testosterone-driven films any more sexist than anything that Tarantino puts out, and I'm a big fan of his work as well. It's a dangerous line to draw when one labels a film due to what is *not* included in a film.

What this film does contain is much more stellar - Hoffman is beyond incredible in this film. His character development is amazing to experience. One criticism of the film that I heard from a friend who saw it before me was that it "dragged." I couldn't disagree more. The development of the story until the extremely violent climax is a perfect pace because it made me feel like I was sitting in a dentist chair, knowing that this low boil could explode at any time. After the dust settles, the viewer is left to decide whether Hoffman's character made the right decision, and left to speculate on the ramifications of the choices made. This is by far one of the best films I've seen in recent months and plan to seek out the newly released Criterion edition in my quest to find out as much about this film as I can.

--Shelly