Les Chiens de paille

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

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.

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.