Synopsis
A young American mathematician, David Sumner (Dustin Hoffman), and his English wife, Amy (Susan George), move to a Cornish village, seeking the quiet life. But beneath the seemingly peaceful isolation of the pastoral village lies a savagery and violence that threatens to destroy the couple, culminating in a brutal test of Sumner’s manhood and a bloody battle to the death. One of the most controversial films ever made, Sam Peckinpah’s Straw Dogs is a harrowing and masterful investigation of masculinity and the nature of violence.
Cast
| David | Dustin Hoffman |
| Amy | Susan George |
| Tom Hedden | Peter Vaughan |
| Major Scott | T.P. McKenna |
| Venner | Del Henney |
| Scutt | Ken Hutchison |
| Reverend Hood | Colin Welland |
| Cawsey | Jim Norton |
| Janice | Sally Thomsett |
Credits
| Director | Sam Peckinpah |
| Producer | Daniel Melnick |
| Screenplay | Sam Peckinpah and David Z. Goodman |
| Music | Jerry Fielding |
| Associate producer | James Swann |
| Production supervisor | Derek Kavanagh |
| Cinematography | John Coquillon |
| Camera operator | Herbert Smith |
| Editing | Paul Davies, Roger Spottiswoode and Tony Lawson |
| Design consultant | Julia Trevelyan Oman |
| Production Design | Ray Simm |
| Art direction | Ken Bridgeman |
| Makeup | Harry Frampton |
Disc Features
SPECIAL EDITION DOUBLE-DISC SET:
- New high-definition digital transfer of the uncut version, enhanced for widescreen televisions
- Audio commentary by film scholar Stephen Prince
- Sam Peckinpah: Man of Iron, an eighty-minute documentary on Sam Peckinpah
- Behind-the-scenes footage
- On Location: Dustin Hoffman on the set of Straw Dogs
- New video interviews with Susan George and Daniel Melnick
- Original theatrical and television trailers
- Peckinpah Responds: Select letters to critics and viewers
- Isolated music and effects track
- English subtitles for the deaf and hearing impaired
- Optimal image quality: RSDL dual-layer edition
From the Current
Home Like No Place: Peckinpah’s Straw Dogs
by Mar 24, 2003Straw Dogs turns on a woman’s rape, and one can’t blame pictures for depicting. But the film shows the woman, after some tart resistance, seeming to enjoy it, and this approaches the apex of what a delicate soul might call “problematic representation.” It’s fucked up. What’s more . . .
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there remaking it?
6 posts by 5 people updated 3 months ago
