[Originally published in Movietone News 10, January 1972]
Sam Peckinpah’s Straw Dogs reminds us that in our rush to civilization, we too often deny the violent origins of our favorite myths and rituals—and pretend that the primal power of our lizard brains never was. Who wants to recall that Christian Communion is a sanitized version of the actual sacrifice—sometimes involving dismemberment and cannibalism—at the heart of innumerable pagan religions? In the time of Sophocles, it was considered beneficial to communally cathect archetypal fantasies. Now we believe that if we just aren’t reminded too often (via the movies, for instance) of the dark underside of human experience, the unpleasantness will all go away, and we’ll all be polite and peaceful together. Isn’t evil all out there, not stubbornly in residence within us? Or if within us, it’s just a matter of biochemical misfires. Retro filmmakers like Sam Peckinpah should chill out, instead of unreeling incendiary words and images.
In Straw Dogs, David Sumner (Dustin Hoffman), in Cornwall to do mathematical research, ignores the possibility of forces and emotions which cannot be contained in neat theorems or controlled by the rational mind. The Cornwall locals question him about what he’s seen of the “troubles” in America—”Did you take part, sir?”—and he quips, “Just between commercials.” For him, the reality of disorder and violence is a made-for-TV movie safely sandwiched between the plasticized fantasy-worlds of Madison Avenue. The irrational is closer to the surface in David’s wife, Amy (Susan George), who deliberately changes the pluses to minuses in David’s neat little equations, trying to tell him that his mathematical framework fails to include certain realities. (For a screwball comedy take on Peckinpah’s psychodrama, check out Howard Hawks’ Bringing Up Baby, in which Cary Grant’s scientist, unmanned and paralyzed by living too much in the head, and Katharine Hepburn, a bundle of impulse, irrationality and energy, survive by finding a point of balance between creative chaos and rigid order.)