Since before the first Psychoanalyst Intertante established a rapid parallelism between the steaming pistols of jeans and their crotters, the 'Western' has defined as any other cinematographic gender the stereotype of masculinity, the scheme of the conquest conceived as extermination or The pillage mystification. Let's say that the cinema was born identified with a failure to be this one of the revolver, the Winchester 73 or that of the Torres de Monument Valley.
It is not clear that the power of the dog, the bright and tremendously powerful achievement of Jane Campion, is the result of a calculated program against all of the above. Nothing mentioned above appears explicit in the movie. What's more, the tape feels proud of the rude tradition, something rancid and very manly than protecting it. And from there, from the conscious respect, from the wise assimilation of each one of its arguments and forms, the Australian director makes a prodigy that is at the same time ecstasy and refutation of the 'Western', of all life at the time of The desktop We have arrived.
The power of the dogapped the novel (edited in Spain by alliance) of the same title by Thomas Savage. And he does it with an accuracy that scares. It is not about both fidelity to the lyrics and each of the wounds of a deep text, measured and carved to hachazos. The story of two brothers is told. One is cultured, extroverted, brutal and overwhelming. The other quiet, silent and perfectly according to the luck and destiny of him. They have always lived together and share a room, work and it would be said that aspirations. None. And so until the second, the shy, decides to get married and bring to his wife at the family ranch.
From the hand of a photograph between saturated and only magic signed by Ari Wegner and Merced a music by Jonny Greenwood (Radiohead) that directly absorbs the air from the room, Campion manages to propose an almost atavistic journey to the background of most. More than watching the movie, the viewer is invited to dive inside it.
The principal prefers to speak of 'postwestern', for that which the characters themselves are known within an adventure of the west and even ironized and talk about the great heroes that the 'Western' itself Ampara. The protagonist lives obsessed by the memory of the legend of the best of the cowboys, the friend of him, the protector of him and even the lover of him. It says Campion that the interest of Him is in what happens within the characters of Him, not in Him's actions. And that for that reason why not, maybe we are in front of Anti-Western. Either as it is, what is left is the reflection of a world that disappears between doubts, false steps and the rejection of a new civilized world that is also the promise of a freedom that is feared and does not want to.
The character of Cumberbatch is the officer in charge of master of ceremonies in a rue, arid and essentially painful liturgy. Campion offers such a powerful and hypnotic ritual as slightly abstract and sleepwalker that equals appeal to the effort of ANG Lee in 'Brokeback Mountain' that the desperate journey of the heroine of 'Meek's Cutoff' of Kelly Reichardt or, why not, to ' Nomadland '. That or the existential Odyssey of Daniel Day-Lewis in 'wells of ambition', by Paul Thomas Anderson. But beyond the cross-references, what remains is the perfect distillation of a dream that, at every step that gives, it seems more and more to an obvious nightmare.
From what the power of the dog speaks, in short, it is both the accidents of the wound masculinity and the difficult reconciliation of the desired and the other. Of all this and the cinema turned into the most magnificent and glorious of the deceptions so close to the only true. The director of 'El Piano' has returned after ten years away from the cinema and there is no way to take her opposite her. Perfect ecstasy and perfect refutation of 'western'.Updated Date: 04 September 2021, 14:57