In “The Power of the Dog,” up for a slew of awards at Sunday’s Oscars, what looks like a possible love story turns out to be a tale of revenge. Revisit Brandon Taylor’s review.
Jane Campion’s new film “The Power of the Dog,” based on Thomas Savage’s 1967 novel of the same name, is set on a ranch in Montana in the nineteen-twenties. Campion is known for making intensely beautiful images of the natural world, but in the new film her painterly impulses are especially breathtaking. Shots of cattle flowing across the hills and into the Great Plains have the energy of one of Eugène Boudin’s beach scenes.
Dunst plays Rose with a downbeat naturalism that at times hinges on a weird girlishness. I say weird because we learn that Rose’s first husband killed himself, making pariahs out of her and her son, and that she was forced to start running the inn as a means of survival. The things she’s been through ought to shine out of her like light trapped under a frozen sea. In the novel, we better understand why Phil makes Rose his target.
Watching the film, though, I understood the story a little differently. Where before I mostly recognized myself in Peter’s plight, I now felt a complicated sympathy for Phil, whose tragedy is just as profound, if not more so. In a couple of dreamy scenes, he retreats to a secret spring in the woods, where he slathers his body in mud and then flings himself into the river, or caresses himself with an old handkerchief that once belonged to Bronco Henry.
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