I’ve never been shy to talk about how little I connect with Jane Campion films. Going back to 1993’s Oscar-winning The Piano, I’ve yet to feel a connection with her movies. While always challenging, her films have yet to engross me in her world fully. So as her latest film, The Power of the Dog, began to draw near, I knew it would be an eventual awards player, but at what level. Despite my underwhelming enthusiasm for most of her filmography, I was still enthused to see what her latest outing would bring. The result is not only Campion’s most accessible film but a masterful exploration of toxic male masculinity and a study of the steps men take to conform.
The Power of the Dog is based on Thomas Savage’s 1967 novel of the same name and is Jane Campion’s first film in over ten years. The film follows the conflict between two brothers Phil (Benedict Cumberbatch) and George (Jesse Plemons), on a ranch in rural Montana in the 20th century. Despite their glaring personality differences, it does not entirely prevent them from successfully running their ranch. George decides to marry Rose (Kirsten Dunst), a restaurateur whose son Peter (Kodi Smit-McPhee) is constantly bullied by Phil and targeted with homophobic slurs. Rose’s arrival ultimately leads to Phil attempting to do anything in his power to make Rose’s life miserable.
The Power of the Dog immediately struck me with Campion showcasing a new skill set that allows the story room to breathe and be fully fleshed out. Yes, Campion’s style from her past work is sprinkled throughout the film. But, she extracts the most vital elements of the source material in a fashion that allows you to engross yourself with the film’s characters fully, and that’s the moment you know that the movie is working.
Campion’s screenplay is one of the centerpieces of the film’s successful execution. A lesser version of this story would come off as a theatrical version of The Odd Couple. However, Campion’s script is more ambitious and character-driven as the tension and dramatic notes are split between chapters. That dynamic provides a canvas for Campion’s film to offer unique explorations into Phil, George, Rose, and Peter.
Speaking of the four, each actor offers commanding performances that aid in the film’s masterful moments. Kirsten Dunst and Jesse Plemons off-screen chemistry translated well to the big screen as their blooming relationship fully invested the viewer. Kodi Smit-McPhee gives his breakout performance that will indeed have folks talking. While the three aforementioned deserve immense praise, it’s Benedict Cumberbatch’s world, and we are just living in it. In his career-best performance, Cumberbatch commands your attention in a version that is both nuanced and terrifying.
The technical aspects of the film are not just impeccable but some of the best. Ari Wegner’s cinematography beautifully captures the landscapes while imposing his talent on the subtle moments between characters, especially those in the barn. In addition, Jonny Greenwood’s score is something special. In a year where praise for Greenwood is aimed at his score for Spencer, this score deserves the same acclaim.
The Power of the Dog will challenge its viewers. If that challenge is accepted, Jane Campion rewards cinephiles with a film that submerges you into its complex characters and themes and is one of the best films of the year.
