The Power Of The Dog - Film Review

From critically acclaimed director Jane Campion comes the new ‘it’ oscar-nominated movie of the year, #The Power of The Dog. 

The only thing that the Academy loves more than musicals, is a period drama. And more importantly, a period drama that tells a modern narrative. And it makes sense too. Because there is a unique power in re-visiting the past to show the way into the future. After all, that’s what the purpose of history is, right? To know where we’ve come from so that we know where we’re going.

The Power of The Dog is a magnificent attempt to do this and almost gets it.. till it doesn’t.

The movie is set in a ranch in Montana, the USA of 1925, owned by the rich and respected Burbank family, run by the two sons, the very alpha Phil Burbank (Benedict Cumberbatch), and the older and more open George Burbank (Jesse Plemons). When George falls in love with a poorer widow Rose Gordon (Kirsten Dunst), and brings her home, Phil’s disapproval creates tension in the family, which escalates further when Rose’s son Peter (Kodi Smit McPhee), training to be a surgeon, comes to live with them in the ranch. While shy and effeminate Peter is initially targeted and bullied by the very macho cowboy Phil, over time Phil develops a liking for Peter and takes him under his wing to train him. As Phil’s secret from the past is revealed to Peter, through an accidental discovery during an escapade, they get closer to each other, much to Rose’s dislike, only made worse by her alcoholism, all finally building towards a dramatic though unexpected twist in the end.

The heart of the film is in the right place. The mission is a noble one. The performances by each of the actors are brilliant. And Jane Campion’s grand telling with the sights, the sounds, and the emotions of each character is truly worth applause. For most of the film, we are taken in by the depth of the storytelling, the nuances of the expressions of the actors, the texture of the Montana ranch, and the point-in-time of American history when the urbanization was still relatively new. The many complex layers of social structure in transition are depicted beautifully. The dynamic between the urban Burbank parents and their rural Burbank sons is poignant. The conflict between the naive romantic George and the cynically bitter Phil is poetic. The contrast between the apparently weak and needing-to-be-protected Peter and his quiet-cold-calmness is ominous. And most importantly, the subtle sexuality, the critique of false machismo (indeed the power of the dog), and homophobia, that eventually becomes the central idea is impactful. For all this, The Power of the Dog deserves its place as an Oscar nominee.

But, despite all this, the film misses one important element. A connection to the audience. 

The first half is well made, as we start building our affection for George, as he becomes Rose’s night in shining armor. We start disliking Phil for his overtly derogatory attitude to Peter. We feel sympathy for Rose and Peter, after having lost the man in their house, trying to fend for themselves. But, as the story progresses to reveal more facets of Phil, Rose, and Peter, we lose that bond, not entirely convinced on why these characters are moving in the direction they are. We also get completely consumed by the theatre of the visuals, the close-up treatment of characters and the scenery, the overtly jarring scenes of blood and animals, which, though are nicely done, distract us from building a connection to the story and the characters as they are moving forward. As a result, when the film moves to the twist-in-the-tale climax, instead of going ‘oh wow', we are left somewhere between ‘awe’ and ‘meh’, feeling a disconnect to our own feelings and therefore to the film. 

All in all, not a film for everyone, especially if you’re the one who feels precious about their two hours on the weekend. 

But, if you’re someone like me, trying to catch the oscar films before the awards, to form your own opinion, then go for it. 

I’ve done three so far (Dune, Don’t Look Up), I think another six or seven to go!