by Foster Harlfinger, Contributing Writer
The Power of the Dog marks the first film from Jane Campion (The Piano) in 12 years, and her return to the world of cinema is sure to be a triumphant one. The precision in Campion’s craft is undeniable — one gets the impression that each frame of the film perfectly represents the harsh vision of its maker. Despite being set on a mid-1920s cattle ranch in Montana, the film was shot in New Zealand, offering a portrait of the American West which is at once familiar and eerily distant. From Ari Wegner’s hauntingly beautiful cinematography to Jonny Greenwood’s piercing score, Campion’s adaptation of the 1967 Thomas Savage novel is sure to remain a critical darling, though general audience members may be challenged by the film’s admittedly measured pace.
Benedict Cumberbatch portrays rancher Phil Burbank, a man who wears his masculinity like a shield, mocking any display of vulnerability or emotion in those who surround him. His presence permeates the film like an ever-present mist, instilling a deep sense of terror in both the film’s peripheral characters and its audience. The film’s chapter headings ration the experience into more digestible portions, though they likewise serve as a much-needed reminder for the audience to exhale. Cumberbatch is transformative in this role, offering moments of swagger and subtlety in equal measure. Though he is unquestionably the highlight of the film, this is a deeply complex character study, and every single actor in this powerhouse ensemble cast is completely up to the task.
Jesse Plemons delivers an understated but unsurprisingly excellent performance as Phil’s mild-mannered younger brother George, or “fatso,” as Phil crudely refers to him. Kirsten Dunst delivers one of her most affecting performances as Rose Gordon, the most frequent subject of Phil’s quietly venomous attacks. Perhaps the most surprising standout of the film is Kodi Smit-McPhee, who is asked to give a performance so layered that its true complexity is not revealed until the final scene of the film. The Academy will be sure to recognize Cumberbatch’s work in The Power of the Dog, but nominations for Dunst and Smit-McPhee would be well deserved. Though less central to the main storyline, the film also features performances from actors like Keith Carradine, Frances Conroy, and the unstoppable Thomasin McKenzie, who is nearing the fulfillment of what I assume is her goal to star in every movie ever made.
Slow and methodical, The Power of the Dog is a film that reveals its true intentions gradually. Though the story may seem simple (and perhaps boring for many viewers), Campion’s vision is one of deep complexity, and I strongly suspect that the film will reward multiple viewings. If you are a fan of psychologically rich characters that you can analyze for days on end, then this is a film for you. To elaborate on the themes of hyper-masculinity and repression in the American West or the film’s subtle story turns would rob you of the experience of discovering them for yourself. The Power of the Dog grabs hold of your attention for the entirety of its 126 minute runtime, but it won’t let go until long after the credits roll.
Grade: A
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