The cycle of abuse and Stockholm syndrome in Buffalo 66

The Cycle of Abuse, Stockholm Syndrome, and Love in Buffalo ‘66

Vincent Gallo’s 1998 cult classic Buffalo ‘66 delves into a complex web of emotional trauma, dysfunctional relationships, and the effects of the cycle of abuse on human behaviour. The film’s primary relationship between Billy Brown (played by Vincent Gallo) and Layla (played by Christina Ricci) can be viewed as a depiction of Stockholm Syndrome, where the victim develops emotional ties to her captor. The movie also touches upon themes of emotional abuse, attachment, and how deeply-rooted psychological trauma shapes our ability to love. This essay explores these dynamics in Buffalo ‘66, analyzing the interplay of the cycle of abuse, Stockholm Syndrome, and love, while referencing psychological and sociological insights into abusive relationships.

The Cycle of Abuse

The cycle of abuse, first identified by psychologist Dr. Lenore Walker in the 1970s, typically involves a repeating pattern of tension-building, violent outbursts, and reconciliation, trapping victims in a seemingly unbreakable loop. In Buffalo ‘66, Billy Brown’s behavior exemplifies this cycle in subtler, emotionally manipulative ways. His dysfunctional upbringing, characterized by neglect and emotional cruelty, has warped his understanding of relationships. Billy, fresh out of prison, kidnaps Layla and coerces her into pretending to be his wife. Throughout the film, Billy oscillates between moments of tenderness and aggression, never allowing Layla to escape fully but also showing rare glimpses of vulnerability.

Dr. Walker’s theory helps to contextualize Billy’s behavior as both the abuser and the victim of abuse himself. His abusive parents, particularly his cold, emotionally absent mother, created an environment where Billy never experienced genuine affection. As a result, his abusive tendencies toward Layla are a learned behavior, reflecting his inability to communicate love in a healthy manner. As sociologist Michael Johnson explains, “Intimate partner violence is often passed down generationally, as children learn abusive behaviors from their parents and then repeat them in their own relationships” (Johnson, 2008). Billy, having grown up in a toxic family dynamic, perpetuates this cycle with Layla.

Stockholm Syndrome and Layla’s Response

Stockholm Syndrome, a psychological condition where hostages develop feelings of empathy and even love toward their captors, is central to Layla’s character arc in Buffalo ‘66. While Layla initially seems frightened and confused by Billy’s behavior, she eventually begins to sympathize with him and even develops romantic feelings toward him, despite his mistreatment. Psychologist Frank Ochberg, who first defined Stockholm Syndrome in the 1970s, observed that hostages often form bonds with their captors as a survival mechanism. Over time, the captor-victim dynamic shifts as the victim begins to identify with the abuser, seeing them as their only source of safety or emotional validation.

In Buffalo ‘66, Layla’s relationship with Billy reflects these dynamics. While Billy is emotionally abusive, yelling at Layla and controlling her actions, he also provides moments of tenderness, making her feel special and important in ways she has never experienced before. Layla, whose own backstory is deliberately kept vague, seems emotionally detached from the world, making her especially vulnerable to Billy’s manipulations. Her acceptance of his treatment and eventual love for him can be seen as a manifestation of Stockholm Syndrome.

Psychologist Judith Herman’s work on trauma bonds suggests that “the victim of abuse may become so emotionally dependent on the abuser that they are unable to see their own suffering clearly, let alone escape it” (Herman, 1997). Layla, over the course of the film, begins to rationalize Billy’s behavior and sees him as a wounded individual in need of love and care. This shift is a hallmark of Stockholm Syndrome, where victims blur the lines between kindness and cruelty, becoming emotionally attached to their abusers.

The Inability of Men to Love

Buffalo ‘66 offers a sharp critique of traditional masculinity and the emotional repression that often accompanies it. Billy’s inability to express love, or even to experience genuine emotions beyond anger and frustration, is central to his character. His abusive tendencies, particularly toward women, reflect a deep-seated fear of vulnerability. In Billy’s world, to love is to expose oneself to potential pain, something he is unwilling or unable to do.

Sociologist bell hooks has written extensively about the ways in which patriarchal society teaches men to suppress their emotions, often leading to emotional abuse in relationships. In The Will to Change, she writes: “Men are emotionally crippled in a patriarchal society, conditioned to be disconnected from their feelings, and this disconnection leads them to act out in harmful ways” (hooks, 2004). Billy embodies this emotional paralysis. His past traumas and lack of love have conditioned him to lash out at others, particularly women, as a way to assert control and avoid his own feelings of inadequacy.

Billy’s relationship with Layla becomes a vehicle for him to reclaim some sense of power, yet it also reveals his deep emotional emptiness. He frequently tells Layla that he doesn’t need her, and yet he clearly craves her affection. His inability to openly acknowledge this need is indicative of the ways in which patriarchy discourages men from expressing emotional vulnerability. Billy’s cruel treatment of Layla is a manifestation of his internalized fear of love — a fear he eventually confronts, albeit in a limited way, by the film’s conclusion.

Abusive Relationships and Women’s Endurance

The film also touches on the broader issue of women staying in abusive relationships, a topic that has long been debated by psychologists and sociologists. Layla’s decision to remain with Billy, even after he kidnaps her, can be understood through the lens of this phenomenon. Many women, when faced with emotional or physical abuse, rationalize their abuser’s behavior and find themselves trapped in toxic relationships due to a combination of fear, financial dependence, and emotional manipulation.

Sociologist Evan Stark’s theory of “coercive control” argues that abuse is not always about physical violence, but about the subtle and insidious ways in which abusers manipulate their victims’ emotional states. He writes, “Victims of coercive control are trapped in a web of psychological and emotional domination, often feeling as though they cannot leave the relationship, even when it is harmful to their well-being” (Stark, 2007). Layla’s gradual acceptance of Billy’s treatment can be seen as an example of this coercive control. Although Billy never physically harms her, his emotional manipulation creates a bond that Layla finds difficult to break.

Moreover, the film reflects broader societal trends in which women are socialized to endure abuse in relationships. Psychologist Lenore Walker argues that “women who are victims of abuse often stay because they believe their abusers will change, or because they are too emotionally dependent to leave” (Walker, 1979). Layla’s willingness to stay with Billy, even after his mistreatment, reflects this tragic dynamic, as she begins to believe that her love can “fix” him.

Symbolism of Love and Redemption

Despite the film’s dark themes, there are moments of hope and redemption. Billy’s journey, while marked by emotional violence, ultimately leads him to confront his own demons. His decision at the end of the film to spare the life of the man he believes ruined his life suggests a turning point. He begins to recognize that revenge will not fill the emotional void inside him, and this moment of realization marks a small but significant step toward emotional growth.

Billy’s eventual acceptance of Layla’s love, though tentative, hints at the possibility of healing. In the final scenes, Billy returns to Layla, suggesting that he is ready to embrace the emotional intimacy he has long feared. However, the film leaves it unclear whether Billy is capable of sustaining a healthy relationship in the long term. In this way, Buffalo ‘66 offers a nuanced portrayal of love and redemption within the context of abuse. The film suggests that while healing is possible, it requires a deep and painful reckoning with one’s own past — a reckoning that Billy only begins to face.

Conclusion

Buffalo ‘66 is a complex exploration of abuse, love, and the psychological trauma that shapes human relationships. Through its depiction of Billy and Layla’s relationship, the film offers a commentary on the cycle of abuse, Stockholm Syndrome, and the emotional repression that often defines traditional masculinity. Drawing from psychological and sociological theories, it becomes clear that the film’s characters are trapped in a web of emotional dysfunction, shaped by their past traumas and societal expectations. Yet, despite the darkness that pervades the narrative, the film leaves room for the possibility of redemption, suggesting that even the most damaged individuals are capable of love, if only they are willing to confront their own pain.

References

- Herman, J. (1997). Trauma and Recovery: The Aftermath of Violence — from Domestic Abuse to Political Terror. Basic Books.
- hooks, b. (2004). The Will to Change: Men, Masculinity, and Love. Washington Square Press.
- Johnson, M. (2008). A Typology of Domestic Violence: Intimate Terrorism, Violent Resistance, and Situational Couple Violence. Northeastern University Press.
- Stark, E. (2007). Coercive Control: How Men Entrap Women in Personal Life. Oxford University Press.
- Walker, L. (1979). The Battered Woman. Harper & Row.