They’re successful ranchers, with money in the bank and a farmhouse mansion done up in mahogany paneling, with art on the walls right next to the trophy heads.īut these two are fatal opposites. The movie is set in 1925 in the mountain wilds of Montana, where the Burbank brothers, Phil ( Benedict Cumberbatch) and George ( Jesse Plemons), preside over a sprawling property on which they raise livestock and train horses. Reaching back to a Hollywood tradition built on films like “East of Eden,” and also to Terrence Malick’s rural art-house parable “Days of Heaven,” Campion, who wrote the script (based on Thomas Savage’s 1967 novel), centers the tale on two adult brothers who have spent enough of their lives intertwined to know just how different they are. The film’s message is unassailable, but that isn’t the same thing as devastating, which is what “The Power of the Dog” wants to be. In “The Power of the Dog,” the characters have secrets, buried motives, hidden drives, yet the filmmaker treats them all, in a certain way, like puzzle pieces, fitting them into a grand scheme that connects with the audience in an overly programmatic way. Yet there’s a key difference between this movie and “The Piano.” In the earlier film, Holly Hunter played a woman who chose not to speak but declaimed her spirit with the most enthralling inner voice of any movie character that year.
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