Review of Straw Dogs (1971) by Nathan F — 29 Nov 2008

Peckinpah's exploration (yes, exploration) of violence is thought-provoking, besides being dramatically intelligent; Hoffman, an intellectual and a little off-putting mathematician whisks off the countryside with his new bride; Susan George, who is much more than a nymphet--in my opinion, George is the most interesting character on screen; seen as a stereotype, but with casually telling details to her dynamic; after all, she does play chess, and collect (however conveniently) historic artifacts--surely she can't be all looks.

When she is raped, and then keeps it to herself, the dimensions and struggling intentions behind this character are revealed, but never penetrated; did she marry Hoffman to live the quiet life, or is there even something foreshadowing his own inner rage--the two do appear to be sexual animals, I might say.

Hoffman's skilled; so skilled, in fact, that at the beginning he's so paltry you might think he's having an off-day; but as the windows start to break, the transformation is so compellingly done that Hoffman sells his character's full trajectory.

Amidst cries of exploitation, I'm not seeing it--there's nothing to suggest that Hoffman isn't earning his masculinity through some delusion; and Peckinpah never makes him out as heroic. Inside the house, in the final sequence, the dynamic between Hoffman and George is still the most compelling factor; a violent film about violence--but with themes of dominance, submission, territoriality; and really, what is more prevalent a topic to dissect than violence?