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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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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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