The Power of the Dog: Film Review
I’ve been hearing rave reviews about The Power of the Dog, written and directed by Jane Campion, ever since its debut in Venice in September so I had high hopes for the film and it sadly fell short of them.
This Western is set in Montana in 1925 and follows volatile, feared rancher Phil Burbank (Benedict Cumberbatch). He torments his brother George (Jesse Plemons)’s new wife Rose (Kirsten Dunst) and her teenage son Peter (Kodi Smit-McPhee) when they move into the family ranch until he finds himself exposed to the possibility of love.
I didn’t really know what this film was about – I hadn’t seen a trailer or read a full synopsis – and I never would have predicted the direction this film takes. It goes to an unexpected place yet doesn’t feel as dramatic as it should and that’s perhaps because Campion has made her film extremely subtle and understated. Hardly anything is done or said in a direct or obvious manner, which can pretty frustrating sometimes. The film is simmering with tension about what might happen next and it always feels like whatever’s bubbling beneath the surface could explode at any moment – but it never does. It felt like it was building towards a BIG moment, I was sure of it, so I felt a bit disappointed not getting what I felt like we’d been promised.
There is still a lot to appreciate about this slow-burner though, from the unsettling atmosphere Campion creates within the ranch, the gorgeous shots of New Zealand landscapes and the performances she brings out of the cast.
Cumberbatch isn’t known for playing nasty, domineering characters so his casting as Phil is quite an unexpected choice but going against type has paid off. He fully convinces as this permanently sweaty and dirty rancher who is filled with rage, jealousy and resentment and doesn’t know how to express that besides being cruel to others. He is the perfect embodiment of toxic masculinity. Plemons is the polar opposite of his brother – he is kind, polite, caring and well-dressed.
I hope Dunst receives supporting actress nominations this awards season because I think she does a stellar job with Rose, who becomes increasingly unnerved and melancholic in the ranch and turns to booze to cope. Smit-McPhee was a revelation as her effeminate son, the subject of ridicule among the ranchers, and this is his most grown-up performance yet. He is so still and subtle and has this quiet power that makes you wonder if he’s not as innocent as he seems.
I have no doubt that this is a well-made film, but I can’t praise it as much as everyone else because it’s a bit too slow-moving and understated for its own good and I wanted so much more from the ending.
On Netflix from Wednesday 1st December