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In Jane Campion's elegant adaptation of Thomas Savage's novel The Power of the Dog, nature is both a miracle and a tool of violence. In 1925, the wealthy Burbank brothers George (Jesse Plemance) and Phil (Benedict Cumberbatch) ran a Montana cattle farm. The mentally retarded George docilely endured the aggressive rant of his very rude brother who was educated at Yale University. ("Too stupid to go to college," Phil once roared at him.) Their lives revolved around livestock and sloppy male company, and seemed to be deprived of better fun until George married Rose (Kels Teng Dunst), a widow proprietress with a family. Nearby inn. Rose and her son Peter (Cody Smit-McPhee) settled in Burbank Manor, which aroused Phil's contempt.
The boldness of the original book comes from the barbarians, combining fierce sibling rivalry, illegal love stories, Western male masculinity myths and murder mysteries in its slim pages. Except for the serious and disarmed George, most characters carefully guard their secrets. Phil showed rough masculinity to overcompensate his desire for men. But his cruel ridicule of Peter evolved from torture to guidance, silently acknowledging their common weirdness. Campion uses master-level control to deal with this mental intensity, often reducing scenes to emotional and innuendo fragments. Particularly exciting are the tenacious but quiet resilience of Plymons and Dunster's protective allergies.
The film contrasts gentleness and brutality in many scenes involving animals. In one scene, Rose tenderly embraced a frightened rabbit that Peter brought into the house. A chef’s assistant innocently took a carrot to feed the creature, only to find that Peter had dissected its body, which was part of his medical degree, suggesting that he was more "brave" than people thought. Similarly, Phil refused to cover his hand when castrating the bull. In fact, gloves are a valid metaphor. Rose stroked a pair of soft leather gloves. Peter uses his own set of gloves strategically. This story puts defenders against insensitivity, and it's not always those who fight "gloves off" are the most ruthless.
The tight-paced direction and the brisk photography of Ali Wagner combine the hidden pain of the characters with the stoiciness of the Montana landscape. Campion often slows down his narrative, embellishing images with stunning mountain surveys, and sometimes glimpses from indoors through windows and doorways, indicating a limited view. Until the end, it was a wonderful game, which allowed all the interactions between Peter and Phil to be presented with a new perspective. Obviously, whether you are showing a steel-like vision or telling a story, the frame is everything.
The Power of the Dog is available on Netflix.
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Ela Bittencourt is a critic and cultural journalist, currently living in São Paulo. She often writes works of art, film and literature in the context of social issues and politics. More artworks by Ela Bittencourt
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