The book of daniel netflix
In one sense, Campion, worthy winner of the director prize at the recent Venice International Film Festival, turns the conventions of her presumed genre inside out. (Fans of Dunst and Plemons, a real-life couple, will also be warmed by the fleeting moments of happiness that Campion grants them in their on-screen marriage.)īut Rose’s love of the piano is snuffed out, along with her spirit, as Phil’s quietly domineering presence spreads through the house like a toxic vapor, filling its dim, cavernous spaces until they feel as vast and unsettled as the surrounding prairies.
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Campion knows a thing or two about new brides in hostile surroundings, and admirers of her 1993 triumph, “The Piano,” may smile when George thoughtfully buys Rose a baby grand as a present. The story hits its stride when Peter heads off to college to study medicine and Rose moves onto the Burbanks’ ranch, where George does what he can to make her feel at home and Phil does the opposite.
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The two share a no-nonsense sibling intimacy, but the air between them is charged with tension, the unspoken sense that even the slightest jolt might cause their fragile dynamic to collapse.Ĭampion has judiciously pared down Savage’s text - Rose’s first husband, still alive in the early chapters of the novel, has been dead four years as the movie opens - and splintered the narrative with chapter breaks that quicken rather than segment its gathering momentum.
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George, whom Phil calls “fatso,” is his gentlemanly opposite, always freshly bathed, neatly dressed and unfailingly polite. In a movie where dogs are both essential workers and potent symbols, Phil is clearly an alpha: Like his revered mentor, Bronco Henry, whose memory he clings to like a talisman, he’s a man of the earth, forever dirtying and bloodying his hands and washing only occasionally in a nearby river. Their differences are pronounced and, for the most part, complementary. 1.) But there is also a great deal hidden in plain sight, including that these Montana wilds were actually filmed in Campion’s native New Zealand, which feels curiously fitting in a movie about the deceptive nature of appearances.Īt first glance, Phil and his brother, George (Jesse Plemons), are a model of sibling functionality, running their ranch in the absence of their city-dwelling parents (Frances Conroy and Peter Carroll). (Ari Wegner’s majestic cinematography cries out to be viewed in one of the theaters where the movie will be playing before it hits Netflix on Dec. There is so much to see in this movie, with its sunrise cattle drives set against somber gray skies and craggy landscapes. Like that book, it’s predicated on several carefully concealed surprises, what contemporary discourse would refer to as spoilers but are better understood as ingenious tricks of perception. The mystery of the seen and unseen lies at the heart of “The Power of the Dog,” Jane Campion’s brilliantly acted, insidiously gripping adaptation of Thomas Savage’s 1967 novel. Phil replies, “Not if you can’t see it, there ain’t.” “There is something there, right?” one of his men asks. He especially prides himself on having the gift of sight, an ability to see things that others cannot, like the strange, elusive vision cast by shadows in the hills near his Montana ranch. For all that, he may be less scary than he is proud, reveling in his dominion over the land and its creatures great and small.
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He is also a sadist, a master of psychological abuse and, as played by a monstrous, mesmerizing Benedict Cumberbatch, one of the scariest characters you may encounter in a movie this year. Phil Burbank is a 1920s rancher, a born rider of horses and a skilled leader of men.
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