#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Upon moving to Britain to get away from American violence, astrophysicist David Sumner and his wife Amy are bullied and taken advantage of by the locals hired to do construction. When David finally takes a stand it escalates quickly into a bloody battle as the locals assault his house.
Plot: David Sumner, a mild-mannered academic from the United States, marries Amy, an Englishwoman. In order to escape a hectic stateside lifestyle, David and his wife relocate to the small town in rural Cornwall where Amy was raised. There, David is ostracized by the brutish men of the village, including Amy’s old flame, Charlie. Eventually the taunts escalate, and two of the locals rape Amy. This sexual assault awakes a shockingly violent side of David.
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An Example of Early 1970s Cinema
Straw Dogs(1971) reveals a primal human action that is the driving force behind its characters. As with Deliverance(1972), Straw Dogs also is fascinated with the violent urge within the human soul. The primal aspect of the human being is provocatively examined in Straw Dogs(1971). Sam Peckinpah forcefully depicts issues that were hinted at in The Wild Bunch(1969). Paints a dark picture of humanity with the person’s frightening ability to harm at any time. The title of the film ties in perfectly with the nature of the story.
An interesting example of a vigilante film before the subgenre became fashionable. Films before had dealt with the theme of revenge but rarely as brutal or primal as in Straw Dogs(1971). Predates Death Wish(1974) by three years. The uncredited inspiration for Death Wish(1974) and others of its kind. Both films include Meek liberal men who explode with violent anger in different ways. Shows revenge and the consequences behind the act of revenge in a realistic dimension.
Straw Dogs(1971) marked the first film Sam Peckinpah did which wasn’t a Western. The film’s direction creates a powerful piece of cinema with a strong European sensibility. Its a shame Sam Peckinpah never did more European Thrillers after SD. One film which mixes the American style of Peckinpah’s Westerns with the European touch of Straw Dogs(1971) is Bring Me the Head of Alfredo Garcia(1974). At times the movie looks as if it could have been done by Hammer Studios. An indication that the late filmmaker could succeed outside of the Western genre.
Good at showing that any person(even peaceful natured)can be capable of violent action at any given moment. The interactions between David Sumner and the Village Reverand is filled with subtle hostility. Represents the conflict between religion and science which is wittily enforced in the dialogue between the two. The locations of Cornwall becomes an important part of the film’s emotion. Intense atmosphere is what gives the film a tinge of horror. Straw Dogs(1971) is in a couple of ways a British take on the Deliverance story.
There seems to be something autobiographical within the frames of the story. Deals with the idea of Man’s violent rites of passage that Sam Peckinpah was only too familiar with. David Sumner symbolizes the private inner self of Sam Peckinpah’s persona. The intense relationship between David and Amy Sumner was based on the director’s experiences with marriage and relations with women. His direction of the actors is masterful. Has to be one of the director’s most personal(perhaps his most personal)film of his directorial resume.
A notorious sequence from Straw Dogs(1971) is the infamous rape of Amy Sumner which plays a tricky balance between the abhorrent and the erotic without spilling over to either side. I can imagine the many people that were taken aback by this scene especially during the first rape when it turns into a love scene. Without the dark humor that was present in Stanley Kubrick’s A Clockwork Orange(1971). Excellently edited scene with some powerful intercutting. Not an overly graphic scene but more psychological with the camera’s focus on Susan George’s face. Its the psychological abasement and reaction of Amy that is the true disturber of the senses.
There is an interesting sub plot between Henry Niles and Janice Hedden that is inspired by OF MICE AND MEN. The director was heavily influenced by the works of John Steinbeck, none so evident as in the characterizations of Henry Niles. Henry Niles is absolutely patterened after the strong but slow witted Lenny from OF MICE & MEN. David Warner pulls off an fantastic performance in a complex role. The scene in the church stable is reminiscent of Lenny and his bosses wife meeting in a barn during OF MICE & MEN. Henry Niles is alot like the misunderstood alleged witch of Don’t Torture a Duckling(1972).
From the very beginning a confrontation between the house workers and David Sumner becomes inevitable. There is some major tension that grows to a boiling point until the hot pot explodes during the climax. The actors do a convincing job in displaying tension with their emotions. When the confrontation finally does happen everything becomes chaotic and violent. This part of the film may have influneced Wes Craven to a certain extent when he did Last House on the Left(1971). By the climax of Straw Dogs, David Sumner despises the house workers so much that he uses Henry Niles as an excuse to strike back at them.
Where the bloodbath at the film’s finale reaches a fever pitch is when reason turns to bloodlust. When the confrontation began there were reasons for each group but as it progressed the two parties become more interested in killing each other. I find it funny that the two groups become less concern in finding Janice Hedden and more concern in fighting to the death. It just shows that protecting one’s land or property is the most important thing to a man. David Sumner and the house workers battle each other in a manner similar to the landowners of the Middle Ages. Sombre use of slow motion effects and editing techniques turns the climax into a nerve twister.
Dustin Hoffman is very good in the role of the timid turned violent David Sumner. Susan George in her role projects both vurnability and eroticism. The film’s climax would be rehased for the house attack in The Osterman Weekend(1983). When Sam Peckinpah also worked as a writer in his films the results were usually brilliant. This is the case with Straw Dogs(1971). Straw Dogs(1971) is an impressive film of an era when filmmakers were not afraid to take chances with risky subject matters.
“This is where I live. This is me. I will not allow violence against this house.”
Sam Peckinpah’s ‘Straw Dogs’ begins peacefully enough, offering only a few subtle hints of the graphic rape that would form the centerpiece of the film, and unbridled violence that would comprise the harrowing final act. David Sumner (a brilliant Dustin Hoffmann, ‘All The President’s Men’), an American mathematician, arrives in a quaint Cornwall town to be met with a certain level of hostility. He and his British wife, Amy (Susan George), have moved back into Amy’s hometown to escape violence and crime in the United States. The irony of this motivation, even at the beginning of the film, is not lost.
David is very much an introvert. The job of a mathematician requires hours of quiet time to think and ponder, something he just can’t get. His wife Amy is immature and disruptive, though we can’t blame her; David has little time for her amidst all his mathematical calculations, and he treats her cries for attention as one treats a child, at one point telling her “you act like you’re fourteen years old.” As days go by, David and Susan face increasing levels of harassment from the local residents, most particularly the four young local men who have been employed to build their garage. The harassment begins quite modestly, with David the outsider becoming the butt of local jokes, whether it be because he has trouble trying to start his battered old car, or because he tries to enter it from the wrong side. On his first visit to the pub, David requests “any American brand of cigarettes,” an unwise move if you wish to make friends amongst the fiercely patriotic country folk of Cornwall. He would later buy the stone-faced men around him a round of drinks, but doesn’t sit around to enjoy it with them.
After a somewhat leisurely opening thirty minutes, we suddenly recognise that things are getting serious when Susan’s cat goes missing. This event in itself is not particularly ominous, since the cat goes missing all the time. However, when David pulls on the light switch in his bedroom closet, he is understandably startled to find his strangled cat dangling limp from the cord. Despite his insistence that “it could have been anyone passing by,” we already know who murdered “kitty.” David vows to confront the four local men, endeavouring to “catch them off guard” and force a confession. However, given David’s typically shy and pacifistic nature, he subsequently loses his courage and backs down.
David’s “confrontation” invariably ends in his accepting an invitation to go hunting the following day. Whilst David takes pot-shots at the passing birds (with little result), one of the men, Charlie Venner (Del Henney), a former lover of Susan, drops into the house. Susan demands that he leave, but he casually casts aside her pleas and starts to kiss her. Susan resists at first but, shockingly, at times she appears to return his affection. Nevertheless, the rape scene is difficult to watch, and Peckinpah masterfully intercuts the quickly-cut scene with images of David standing obliviously amongst the scrub, still actively trying to shoot down ducks. Another of the men arrives at the home, and a second uncomfortable rape scene follows. Once it is all over, we find David finally shooting down a bird, only to find that it isn’t a duck. Disappointed that he has made such a careless mistake, he drops the dead bird into a bush, no doubt assured that the worst thing to happen today was his inability to hunt. When he next sees Susan, she says nothing to him; and she never will.
When a mildly mentally-challenged local man, Henry Niles (David Warner, who was uncredited due to insurance complications), also a convicted child molester, accidentally murders a teenage girl who made advances towards him, the drunken father of the girl wants his retribution. Niles, stumbling through a heavy onset of fog, finds his way in front of David and Susan’s car, and they bring him to their home until medical assistance can arrive. However, the murdered girl’s father and the four men who had been building David’s garage turn up outside his house with only one thing on their minds: getting inside that house and getting to Niles. The previously mild-mannered David, on the other hand, has alternative plans for these men.
The title of the film is drawn from a common translation of ‘Tao Te Ching’, an ancient Chinese philosophical treatise: “Heaven and Earth are impartial; they see the ten thousands things as straw dogs. The wise are impartial; they see the people as straw dogs.” Many ancient Chinese ceremonies included the use of grass-woven dogs, which were revered and respected during the ritual, but afterward discarded and burnt. Perhaps the title symbolises David’s underlying attitudes towards human lives as the men begin to invade his home we are all straw dogs, made only to be destroyed.
Whilst David’s moral reasoning for defending his home is to prevent Niles’ bloody death at the hands of the mob, he appears to take grim satisfaction in murdering the intruders himself. Once all are good and dead (the most nasty mode of death involving a fully-sprung bear trap), David stands aside, a peculiar grin evident upon his face, exclaiming to himself, “Jesus. I got ’em all!” He is not disgusted or sickened by the deaths he has forced himself to orchestrate he is actually satisfied, invigorated. He is proud of his achievements.
What could have possibly precipitated this sudden change in David’s character? From a logical, mild-mannered, peaceful man arose a methodical killing machine, who shockingly takes pleasure in his multiple kills. Then we suddenly realise. These qualities were within David the entire time. Indeed, they subconsciously inhabit the hearts of all men. He just required the horrific circumstances of that night to bring about the alarming conversion.
Original Language en
Runtime 1 hr 53 min (113 min), 1 hr 58 min (118 min) (uncut)
Genre Crime, Drama, Thriller
Director Sam Peckinpah
Writer David Zelag Goodman (screenplay), Sam Peckinpah (screenplay), Gordon Williams (novel)
Actors Dustin Hoffman, Susan George, Peter Vaughan, T.P. McKenna
Country UK, USA
Awards Nominated for 1 Oscar. Another 1 win & 1 nomination.
Production Company Talent Associates Ltd.
Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Mitchell BNCR (uncredited)
Laboratory Denham Laboratories, London, UK (uncredited)
Film Length N/A
Negative Format 35 mm (Eastman 100T 5254)
Cinematographic Process Spherical
Printed Film Format 35 mm