The Shifting Lines of Masculinity and the Power of the Dog
— SPOILERS AHEAD —
In Thomas Savage’s original novel of the same name, some of the major themes of this work are presented more overtly. Phil is very obviously homophobic, in an attempt to hide his truths, and Peter yearns for revenge against the man tormenting him and his mother. Jane Campion subverts these parts of the plot and allows them to fade into the shadows of a story that burns slowly behind a quiet landscape and intense soundtrack (something that can always be expected from the great Johnny Greenwood).
There are more similarities than one would think between this and Campion’s seminal 1993 work, The Piano, beyond the fact that both prominently feature pianos (they are to Campion what feet are to Quentin Tarantino). Both begin with two men who have a close relationship and work in a remote, rural environment. And both pull at these relationships with the introduction of a bride for one of these men. But beyond this, the similarities begin to disappear as Campion is given the opportunity to speak to an audience that is more comfortable with the blurred lines of sexuality than they may have been before Y2K.
This is where The Power of the Dog becomes more interesting. We learn of Phil’s more intense relationship with the mysterious Bronco Henry than originally believed. He was not just a mentor to Phil and George but also some sort of lover to Phil. What again is brilliant is that this is not made overt. Phil does not state or show this outright nor does he flat out deny it by being noticeably homophobic beyond a few comments he makes to Peter early on about his paper flowers.
Phil’s love of Henry, his need to remain connected to his brother, and his newfound interest in Peter all stem from a sort of intense masculinity he craves. It’s a life where boys can spend all day rolling around in the dirt and no girls are allowed. It’s not necessarily sexual but comes from a trauma of his youth and a desire to surround himself in the company of men.
Peter plays into this; noticing Phil’s magazines and his relationship with Henry. He uses Phil’s impressionable view of male relationships against him and ultimately is able to exact revenge by taking advantage of it.
Campion’s exploration of toxic masculinity is nothing new but taking the typical male gaze we’ve come to expect in films and turning it against itself is something that feels powerful.
