The Power of the Dog‘ is Jane Campion‘s first feature film in more than a decade, and only the third in this millennium, and these chronological landmarks in the cinematography of one of the most powerful and expressive directors we have the chance to be contemporary with makes the film an event. It is, without a doubt, one of her most ambitious projects, with an excellent cast and an interesting theme, which leaves room for many interpretations and discussions. Adapting a novel by Thomas Savage, the film is a Netflix production that I think will gain a lot from being watched in theaters, where the values of the cinematography and soundtrack will be better highlighted. The rating on IMDB will probably increase as well, as this is one of the best films of 2021. I confess that the subject is in many ways outside my comfort zone, but I can’t help appreciating its cinematic qualities. Academy Awards nominations confirm them.
The story takes place in 1925 in Montana. Phil and George Burbank are wealthy ranchers, owners of a huge ranch, and two very different brothers. Phil studied Greek and Latin at university, but chose to become a herdsman as a profession and as a way of life, spending most of his time with his employees, caring for horses and cattle. George seems simpler and more settled, he is the one who manages the farm. In their 40s, the two brothers did not get married and sleep in the same bedroom. The meeting with the freshly widowed Rose Gordon and her son Peter, an introverted boy just out of adolescence, changes their lives. George marries Rose and brings the two to the ranch. Phil is very hostile to the two of them. Jealousy? Resentment for the change in his lifestyle? The confrontation between Phil on the one hand, Rose and Peter on the other hand will have dramatic consequences for all three. Each of the three characters will end the story in a completely different place than they started, we will learn unexpected things about each one, and the balance of powers between the characters will also change.
This pseudo-western can be interpreted in many ways, and I think the differences between these perceptions are those that have led to different opinions in chronicles and heated disputes on social media. One of the recurring themes in Jane Campion‘s creation is the balance of power between the sexes and the way in which women find their place in society. Speaking of past times, Campion seems to always refer also to the era in which we live. In this film, she goes in a new direction, bringing the connection between Phil and Peter to the center of the story, discussing the concept of masculinity and its nuances, as well as the idea of a model in life. Phil’s way of being is motivated by his relationship in adolescence with a cowboy who had taught him lessons about craft and life, but when he tries to replicate the same intergenerational reshaping with Peter, things will evolve very differently. Can an evil fix another evil? I do not know. Things happen and are told masterfully and in detail. The conclusions belong to us. The film has a square of aces in the lead roles, and each is formidable in his own way. Benedict Cumberbatch proves once again in the role of Phil, which at first seemed to be a counter-cast, that he is one of the leading actors of his generation. I confess that I have never noticed until now Kodi Smit-McPhee, who manages to create a complex and credible Peter. The transformations of the two throughout the story are amazing, and the emotional impact is largely due to them. For Kirsten Dunst, the role of Rose is one of her first roles of maturity and the actress manages to convince that she will be a star for a long time. Jesse Plemons completes the quartet, being perfect for the role of George. The cinematography is remarkable, the fact that the filming was done in New Zealand gives a special, slightly fantastic, nuance to the atmosphere and the landscape. The scenes with animals (rabbits, horses, cattle) that have their role in pointing out the development of the story are also to be watched. The soundtrack is exceptional, partly musical quotes, partly (I think) original, with a combination of banjo, violin and cello that discreetly and expressively emphasize the visual part. And, of course, there is a Piano, Jane Campion quotes herself here, after quoting from the ‘The Magnificent Seven’ at the beginning, to cheat us. There are many reasons why ‘The Power of the Dog‘ is a film that deserves to be appreciated, let’s see where the Academy Awards count will stop.