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★★★★☆
9 September 2018
A movie review of DOGMAN. |
“Everyone likes me here,” Marcello (Marcello Fonte)
Oppressing people, whether as a politician or a parent, has further problematic consequences. It makes the victim more susceptible to other bullies. And those in the victim's care also suffer. DOGMAN does not try to explain lead Marcello's psychology. Compare MY FRIEND FROM THE PARK (2015), which looks at a new mother's vulnerability, and drops hints at how the lead reached her situation. We meet people all the time whose background we don’t know, without much of a clue to fathom their behaviour. Maybe some filmmakers think not being able to extrapolate makes the scenarios universal? One does not want to be spoonfed with pat psychology, but vagueness can be unsatisfying, e.g. SHAME (2011).
Oppressing people, whether as a politician or a parent, has further problematic consequences. It makes the victim more susceptible to other bullies. And those in the victim's care also suffer. DOGMAN does not try to explain lead Marcello's psychology. Compare MY FRIEND FROM THE PARK (2015), which looks at a new mother's vulnerability, and drops hints at how the lead reached her situation. We meet people all the time whose background we don’t know, without much of a clue to fathom their behaviour. Maybe some filmmakers think not being able to extrapolate makes the scenarios universal? One does not want to be spoonfed with pat psychology, but vagueness can be unsatisfying, e.g. SHAME (2011).
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Like 33 SCENES FROM LIFE (2008), the audience watches a character detonate their life. Here the consequences are direr, and an external force is at work. The heart aches as meek Marcello continually makes poor choices. Why is he enthralled to the town bully, Simoncino (Edoardo Pesce)? Is it some past debt, or fear? As the film unfolds, his unwillingness to change track is ingrained bone-deep.
Simoncino terrorises the town. It is if the community is a school and is helpless against the strongest kid. First, we wonder is it because the police are corrupt/incompetent. In fact, they want to step in, but the citizens will not come forward, because Simoncino hasn’t committed a crime yet that would put him away long enough. The fear of reprisals is evident, and the latent violence pulsating off the antagonist is palpable.
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The seaside town is grim. It reminds of the British destination in LAST RESORT (2000), a dilapidated place housing powerless people a heartless government does not care about. This Italian community here looks post-apocalyptic in its degradation. It is ripe for redevelopment, but for anyone who has seen SUBURRA (2015) that is maybe not a peaceful option.
DOGMAN is bookended by mad dogs, a literal one and a metaphorical one. Being treated like a dog, working as a dog groomer, and calling the film DOGMAN, might be a little too on the snout, but the survival of the fittest theme is even more topical since the financial crash of 2008.
The film asks this question: When fate gives several outs, what makes a person not grab them? No matter how forceful you start off, if life beats down anyone enough they become ill-equipped to fend off adversity.
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