It’s a psychological drama that explores myriad emotions with finesse, no wonder The Power of the Dog has bagged 12 nominations at the 94th Academy Awards

Mona  

How far a child could go to protect his mother? That’s the premise that Jane Campion’s The Power of the Dog is built upon. Slow and steady, taking us through the Maniototo, in Otago, New Zealand, the narrative builds to a climax that befuddles and jolts. Frontrunner for Oscars, with 12 nominations at the 94th Academy Awards, including Best Picture and Best Director, this Western is not a cup of tea for anyone and everyone.

Based on a book, The Power of the Dog, by Thomas Savage, written in 1967, the film’s screenplay is by Jane Campion too. She won the Silver Lion for Best Direction at the 78th Venice International Film Festival. 

Story-wise, it’s a linear plot. Widowed Rose Gordon (Kirsten Dunst) and Peter (Pete) Gordon (Kodi Smit-McPhee) are pulling on the rigours of regular life. A certain George Burbank (Jesse Plemons) finds Rose in a rather delicate stage and marries her, as the very artistic Peter is bundled off to college. Come summer and Peter makes it to the ranch, an island of civilisation amongst the barren hills. The family dynamics take over. 

Before Rose and Pete make it to Burbanks’ home, Robert and banjo-wielding Phil (Benedict Cumberbatch), his younger brother are leading a ranch life, banking on each other. While Robert is relieved to finally get over loneliness finding his companion, Phil isn’t too happy, finding Rose to be a cheap schemer after their money. This former Yale alum, who studied classics, trained by certain Bronco Henry, is adept at work. Troubled by the intrusion, he misses his brother being taken away by his wife. He’s rough on Pete for his effeminate ways, calling him Miss Nancy.

The narrative moves as the two—Phil and Pete—who started on a wrong foot get pally, the older one making amends and teaching him how to ride. The summer is usual but Rose sinks into depression by and by, as her dependency on alcohol takes its toll. 

Before Pete goes back to school where he intends to become a surgeon will he be able to sort out life for his mum? Who falls prey to deviousness of human mind? A psychological drama, the film touches on grief, identity, resentment, masculinity and sexuality, ever so delicately.

While the film moves slowly, it makes up by presenting stunning visuals. The Power of the Dog takes us back to New Zealand and all its beauty. Cinematographer Ari Wegner brings about a beautiful play of sun and shadows, clouds and hills. The score by Jonny Greenwood heightens the natural beauty and builds the psychological drama. Both Wegner and Greenwood are in the Oscars race.

Even if there isn’t much happening, each little scene —Mason & Hamlin Baby Grand Piano being hauled up at the ranch, the Governor and his wife coming for dinner, little rabbit and the fate it meets, Phil’s idyllic sanctuary and the swim in gorgeous waters—take us closer to the characters. You want to protect Pete, lend a hand to Rose to climb out of her misery and laud Phil for being ‘hero’ to the boy looking for someone to guide him through. Or did Pete ever need anyone for that matter? 

If the act by Benedict Cumberbatch is superb, his look, the very athletic frame as well as the acting prowess is admirable. Kodi Smit-McPhee surprises with his act too. Right from a timid boy on the cusp of manhood, he bears his elements well. Kristen Dunst as Rose lives her part well, Jesse Plemons as Robert lends able support to the narrative. That all four of them are nominated for Oscars says it all.

A brilliant screenplay and execution in the hands of Campion, this one is an emotional watch. Cementing her mettle as a filmmaker with finesse, she already holds Academy Award for The Piano’s screenplay writer. R-rated for nudity and animal cruelty, The Power Of Dog, streaming on Netflix, is for the sensitive viewer. 

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