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Sex in “Straw Dogs”: The remake of a rape

Sex in “Straw Dogs”: The remake of a rape (photo)

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In some ways, Straw Dogs is an odd choice for a remake – for a movie about “asking for it,” it certainly wasn’t. Nor, as Monday’s box office results reflect, was much of an audience asking for it, either. (It came in fifth place).

Sam Peckinpah’s 1971 original was reviled, most notably by Peckinpah champion Pauline Kael, as “sexual fascism.” A key scene – a double rape – provoked arguments about the director’s motivation, since the picture seemed to argue that the woman was “asking for it,” which Peckinpah himself confirmed in an infamous Playboy interview. (In that same interview, he also claimed that most women were whores, and if they weren’t, they weren’t being honest.)

So why remake a film noted for its misogyny? “That’s the very reason to make this film in the first place,” director Rod Lurie explained on the red carpet at a Cinema Society screening last week. He calls it an “intellectual exercise”: “How do you tell the same story, eliminate his philosophy, and put mine into it? Is it possible?”

Let’s see. For starters, both “Straw Dogs” are based on a book – The Siege of Trencher’s Farm, in which there is no rape, and the main violence is a home invasion. The rape comes about, in the original, partly because the female character, Amy Sumner (played by Susan George), has been walking around without a bra on and has accidentally revealed her breasts to some construction workers; but then upon realizing that they’re staring at her through the window, she lingers to let them look.

Her new husband, David (played by Dustin Hoffman), is presented as a pacifist intellectual, who isn’t around to defend her at the crucial moment – because he allowed himself to be tricked earlier, and failed to take a stand when the workers committed their first act of violence: hanging the family cat in the closet. When the first rape happens, Amy barely struggles, and even expresses pleasure. “People often asked, ‘Why is she smiling? Why is she cuddling with her rapist?'” Lurie noted. And the danger with that presentation, he said, is “there were young boys watching this film who went, ‘She said no, but he f—ed her, and she’s OK with it.'”

The rape scene was part of a larger issue, however – a philosophy Peckinpah believed in called the “territorial imperative.” “It said that all men are genetically coded to violence.” Lurie said. “And so the most violent among us are going to be in charge. The woman will not gravitate to the best man for them, they’re going to gravitate to the alpha male — to the biggest bull in the herd.” This is why, after the rape, Amy’s loyalty seems divided – the rapist seems to understand her more than her husband does, and she only seems to respect her husband after he kills several men defending their home.

“I’m not buying into that whatsoever,” Lurie said. “So what you’ll find in my version of the film, it doesn’t go that way at all.”

Lurie changed the setting from Cornwall, England, to the South, to place the action in a small town where football, hunting, and churchgoing are the major pastimes. “They have preachers talking about a vengeful God who will spite you from the earth; and the flood, and Armageddon,” he said. So while Lurie does not agree with Peckinpah that human beings are normally conditioned to violence, in this town, they are, “like it’s no big deal to them.” And his David (played by James Marsden) hasn’t been raised with violence in his life, “except what he reads in history.” (In the movie, David is scripting a film about the WWII battle of Stalingrad, a battle which was partly fought by women with brooms and kids with bricks, “a metaphor for everything that happens in the film,” Lurie said).

“We’re capable of violence if we’re protecting ourselves,” Lurie said. “So when David becomes violent at the end, it’s because he has to, not because, like in the Peckinpah film, there’s a rage being released that was there anyway.”

And when that violence at the end happens in the remake, David is not alone in defending his home. “By the end of the original, everyone jumps ship. Even his wife deserts him,” Marsden said. “In this film, they sort of stay together as a couple, and fight together. And throughout, they’ve had more discussion as a couple, like about the doors being locked.”

The couple also have more discussion about whether it’s appropriate for Amy (played by Kate Bosworth) to go braless, after she complains about men ogling her – which is what prompts her to reveal her breasts in the first place, because this time, it’s no accident. It’s a strange scene – if construction workers were ogling you, and it made you angry, would you take your top off for them in response? And then, the crucial point, even if you did, does that mean you’re “asking for it”? “I don’t know any woman that enjoys that notion,” Lurie said.

“To be honest with you, what intrigued me about the film is how gray it is,” Bosworth said. “I have so many questions about the original. And I have questions about our movie! I have questions about my character, still. It really is one of those films you never quite have the answers to.”

When the rape finally happens in this film, it’s more clear than in the first that Amy and Charlie (played by Alexander Skarsgård) have had a past relationship. “With Charlie, it’s not really rape,” Skarsgård said. “He thinks, there’s this woman, she wants him, and they’re going to be together forever. And when she rejects him, he’s like, ‘I offered you my protection for life. You said no. This is what happens.’ So it’s very primal, on an animalistic level. ‘You didn’t want that? This is what happens.'”

While Amy doesn’t fight back as much during the rape this time, her rapist is also much bigger. (Plus, he’s Eric Northman!) But she doesn’t treat it like ex-sex, either. “I think it’s a little more clear that she’s not enjoying this thing done to her,” Bosworth added. “That was more murky in the original.”

“Our leading lady is certainly much more fierce and more modern than Susan George’s character,” Marsden said, “and a little less ambivalent in that defining scene.”

While it’s commendable to not eroticize rape, as the original does, it leaves the remake without much of a point. Peckinpah’s “Straw Dogs” had an argument to make – an argument many disagreed with, but an argument nonetheless, about what makes a man a man, and what women supposedly really want. Does excising that leave much of a picture left? Lurie said it does.

“Our Amy is a fierce Amy,” Lurie said. “She’s a feminist Amy. She’s an Amy of 2011.”

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Rocky IV Paulie Robot

Mr. Roboto

5 Reasons Rocky IV Is Too Rotten to Miss

Catch Rocky IV Friday at 8P during IFC's Rotten Fridays.

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Photo Credit: MGM/UA/YouTube

When Rocky IV was released in 1985, the critics were not kind. (While it wasn’t around back then, the film’s 39% ranking on Rotten Tomatoes speaks for itself.) Less of a movie than a jingoistic music video starring a robot and a steroid-addled, monosyllabic Russian baddie, Rocky IV is a far cry from the Italian Stallion’s humble origins.

Still, more than any movie ever made, it exemplifies the whole “so bad its good” genre. This movie was made for us, the great-unwashed masses of the 1980s, who loved the band Survivor and hated those Commie bastards. Before you catch Rocky IV on IFC’s Rotten Fridays, let’s take a look at some moments that make this flick a “too rotten to miss” classic.

5. That Opening Shot

Rocky IV
United Artists

It takes all of 30 seconds for the audience to know they’re in for one ridiculous rollercoaster ride through a Cold War conniption fit of good vs. evil. Gone is the subtle tone and grounded reality of the first Rocky. In its place we see two gloves, one emblazoned with the American flag, the other with the Soviets’, hurtling toward each other. When they collide, sparks fly, and we witness an explosion decades in the making.

In case the symbolism is too subtle for you, director/writer/star Sylvester Stallone is trying to hint that this movie will be the clash of civilizations we’d all been waiting for, but instead of nuclear bombs, a humble palooka from the streets would be duking it out in the ring with the ultimate representation of coldhearted Communism. If it were up to us, this opening shot would’ve won Best Picture all by itself.


4. So Many Montages

Rocky IV has a running time of 91 minutes and 20 seconds. Its eight montages (yes, EIGHT) run a total of 29 minutes and 10 seconds. That is one third of the movie solely dedicated to montages. (Considering Stallone’s contempt for all things Soviet, we have to wonder if he knows it was a dirty Ruskie who invented the montage.)

During one of the many, many montages, director Stallone actually flashes back to a scene that had happened a minute and half prior, creating the impression that he might actually flashback to the montage we were just watching in the same montage. Stallone clearly loves a good montage set to an inspirational ’80s song, and so do we. Which brings us to…


3. A Soundtrack Full of Pumped Up ’80s Jams

Speaking of montages, they are set to the score of some of the cheesiest hits from the mid-’80s. For once, we’re spared tracks from Frank Stallone, with Stallone replacing his rocker brother with synth-y singles from Survivor, John Cafferty and Kenny Loggins. And of course, Robert Tepper, possessor of an ’80s mullet that could topple empires, crooning “No Easy Way Out.” The music in this movie is one step away from being a parody of the music in this movie. If you ever want to know what cocaine can do to the human mind, just listen to this soundtrack.


2. Rocky Ends the Cold War

Rocky IV speech
United Artists

In one of the most misguided, self-congratulatory, and immediately dated moments in cinema history, good ol’ galoot Rocky Balboa single-handedly ended the Cold War four years before the Berlin Wall came down.

To quote the Italian Stallion himself: “In here…there were two guys… killing each other. But I guess that’s better than millions. What I’m trying to say is… if I can change… and you can change…everybody can change!” And just like that the Soviet public, generals and even the Premier himself rose to their feet in applause, realizing what fools they’d been. This guy beat Mr. T for Heaven’s sake. He knows what he’s talking about!


1. Paulie’s Robot

Okay, let’s all take a deep breath and really consider this for a moment. Rocky IV has a robot butler in it. A movie franchise that began back in 1976 exploring the gritty reality of a bum fighter trying to prove himself somehow limped along long enough to turn into a weak Short Circuit rip-off in which an alcoholic mooch with a history of domestic abuse now gets his coffee served to him by a robot. A robot that he has programmed with a “sultry” lady voice!

Stallone was inspired to include the real life robot Sico in Rocky IV because of the work it did to help autistic children like his son Seargeoh. That’s all very moving, but doesn’t explain why he decided to write a scene where Paulie dubs poor Sico “the love of my life.” It’s a testament to Rocky IV‘s “too rotten to miss” status that Paulie’s robot girlfriend/personal servant isn’t even the craziest thing that happens to Rock and the gang.

Catch the “Too Rotten to Miss” movie Rocky IV this Friday at 8P on IFC. 

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Gray's Anatomy

Everything You Need to Know About the Movie That Inspired “Parker Gail’s Location is Everything”

Brand new Documentary Now! airs Wednesday at 10P on IFC.

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Photo Credit: Cinecom Pictures

This week Documentary Now! spotlights a master monologist with “Parker Gail’s Location is Everything.” Before you tune in at 10P this Wednesday on IFC, check out our guide to Swimming to Cambodia, the 1987 film that captured writer/performer Spalding Gray’s acclaimed one-person show.

Spalding Gray 101

Swimming to Cambodia
Cinecom Pictures

Actor and renowned monologist Spalding Gray spent two years on stage perfecting his Obie Award-winning “Swimming to Cambodia” monologue. In it, Gray tells the story of his eight weeks in Southeast Asia while shooting the 1984 Academy Award-winning movie The Killing Fields. He had a small role, but the experience gave him several anecdotes about hanging out with the film crew and experiencing the local culture, all while searching for “the perfect moment.”

Directed by the Silence of the Lambs Guy

Hannibal Lecter
Orion Pictures/Everett Collection

Acclaimed filmmaker Jonathan Demme took Gray’s two-night, four hour performance and crafted it down to 85 minutes. His use of dramatic lighting, stylish camerawork and a score by performance artist Laurie Anderson was praised by critics and earned the film a cult following. No stranger to groundbreaking docs, Demme also directed the 1984 Talking Heads concert film Stop Making Sense, which Documentary Now! pays tribute to in this season’s episode “Final Transmission.”

All about the Voices

While it may have been a one-man show, Gray created a repertoire of characters all with distinctive accents. (He portrayed conversations between himself and others just by turning his head.) Our favorite impressions are of his demanding girlfriend Renee and Ivan Strasberg, the South African director of photography on The Killing Fields who, as depicted by Gray, sounds a bit like a Jamaican surfer.

The Original Cranky New Yorker

In one memorable scene, Gray rants about how his noisy upstairs artist neighbors are driving him and Renee crazy. Even in the mid-’80s, there were New Yorkers complaining that the city wasn’t what it used to be.

Show and Tell

Swimming to Cambodia
Cinecom Pictures/YouTube

A big fan of visual aids, Gray used pull-down maps to illustrate his travels. This helped to bring Swimming to Cambodia to life, since he’s basically sitting at a desk the entire time.

Inspired One-Person Shows

Gray’s groundbreaking performances in Swimming and other documentaries like Monster in a Box and the Steven Soderbergh-directed Gray’s Anatomy (about Gray’s struggle with a rare eye condition) paved the way for future one-person shows. (We wouldn’t have everything from Carrie Fisher’s “Wishful Drinking” to Mike Birbiglia’s “Sleepwalk With Me” without him.) Even Doc Now! star Fred Armisen got into the one-person show act for his recent SNL monologue.

Catch Documentary Now!’s tribute to Spalding Gray when “Parker Gail: Location Is Everything” premieres Wednesday, September 28th at 10P on IFC. 

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Burning Heart

10 Reasons Why Rocky IV Is the Ultimate Rocky Movie

Catch an all-day Rocky movie marathon this Friday, September 30th on IFC.

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Photo Credit: United Artists/Everett Collection

Sure, most people love the first Rocky for its heart, gripping boxing scenes and the classic training montage. Or, you might love Creed for being both a return-to-form and a new exploration of the Rocky mythology. Maybe the thrill of seeing Mr. T and Hulk Hogan in the same movie makes Rocky III your top pick. Well, sorry, you’re wrong: Rocky IV is the greatest of all the “Italian Stallion”‘s movies.

Before you watch the all-day Rocky movie marathon this Friday, September 30th on IFC (with Rocky IV airing at 8P as part of Rotten Fridays), check out a few reasons to appreciate the fourth installment as the king of the series.

1. The Greatest Opening Ever

How many openings are able to sum up the entire conflict of the film in less than a minute and without a single line of dialogue? And how many of those movies have exploding boxing gloves? Just try to watch the opening sequence above and not be completely psyched for the pumped-up flick to come.


2. Montages!

We all know that the best part of any sports movie is the montage, and Rocky IV doesn’t give you one measly montage. There’s a recap of the previous films montage, a getting to Russia Montage, two training montages and an ending fight montage. That’s five montages! There’s probably a montage of montages snuck in there, too.


3. There’s a Full James Brown Musical Number

This movie is so packed with memorable moments, it’s easy to forget one of the first things that happens in the film: Apollo comes out to fight Drago dressed as a shirtless Uncle Sam, while James Brown and a full band play “Living in America.” To drive home the number’s patriotism, there are dancers in tuxedos and top hats, weird unitards and bowler caps, and bedazzled showgirls with headpieces for miles. Oh, and don’t forget the giant tentacled dragon statue on the stage. This is how every boxing match should start. Heck, this is how we always want to enter a room.


4. The Soundtrack

The Rocky IV soundtrack doesn’t just feature James Brown — it has rock anthems galore, all of which make you immediately want to hit the gym. From “Heart’s on Fire” by John Cafferty and the Beaver Brown Band to “Sweetest Victory” by Touch to multiple Survivor jams, you’ll get pumped and stay pumped. Even the instrumental score rocks! Sure, sometimes it sounds like it was made on a kids Casio, but this soundtrack never quits and — to quote Robert Tepper — never takes the easy way out.


5. Abs!

Rocky IV weights

Every Rocky movie shows off Stallone’s incredible physique, but Rocky IV really ups the game. Not only do we get Dolph Lundgren mostly shirtless looking like a man machine, but we get a wide variety of scenes of Stallone doing impossible tasks. Stallone’s crazy dragon fly crunches, aka a thing no human should be able to do, automatically take this movie to the top.


6. Two words: Ivan Drago

Ivan Drago
United Artists

Not only does Rocky IV explore the global conflict between the US and the Soviet Union, but it encapsulates all of our fears of the Cold War in one perfect villain. Ivan Drago only trains with machines and science and looks like he stepped out of an Aryan Nations recruitment poster. He also only responds in short, cold phrases like “If he dies, he dies,” or “I must break you.” There’s never been a villain who we so clearly want to get the crap beat out of than Ivan Drago.


7. Rocky Makes Chores Look Badass

Rocky saw
United Artists

Rocky doesn’t need to be hooked up to machines to become the perfect fighter. All he needs are huge tires and some outdoor chores to do. No one’s ever looked cooler chopping wood and using tractor parts. Half of his training is lifting an old wagon, probably to fix a broken axle. If anything, this film inspires us to take care of that gardening work we’ve been neglecting.


8. Rocky’s Beard

Rocky IV Beard

Stallone’s beard game is truly on point in Rocky IV. And this isn’t some “I forgot to shave, here’s a little stubble” look. No, we get full out, lumberjack-style beard action. Does any other Rocky movie have our hero looking like an old Russian aristocrat? Another point for Rocky IV.


9. There’s a robot!

Again, there’s so much to Rocky IV, you probably forgot about the robot. Well, Rocky has some money now and he’s not going to spend it on frivolous things for himself. He’s going to buy Paulie a robot! The best part of this scene is how truly disturbed Paulie is by this new technology until he gives it a sexy lady voice.


10. Rocky Ends the Cold War

If you’re still not convinced that Rocky IV is the greatest, answer this question: Does any other Rocky movie bring peace between the US and Russia?

By the end of the film, Rocky rises up to beat the seemingly undefeatable Drago. He fights so well, that even the Russians begin to appreciate his skills. Then, instead of using his victory to prove America’s superiority, he gives a rousing speech of “If I can change and you can change, everybody can change!” The whole crowd goes wild, including all of the Russian government, who we assume give up Communism immediately based solely on Rocky’s words. Stallone’s call for international reconciliation through brutal fighting and a variety of montages makes this if not one of the greatest films of all time, certainly the greatest Rocky of them all.

Catch the “Too Rotten to Miss” movie Rocky IV this Friday at 8P on IFC. 

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