‘The power of the Dog’ movie review: A different, deftly done Western drama
First things first, if you’re a Nepali with Netflix and haven’t watched “14 Peaks”, well, you might as well be a social outcast. And please don’t expect a review from me either. I don’t want to be biased, which I surely will, having followed Nimsdai’s journey from even before he began his expedition. Also, if you’re a Nepali with Netflix, please steer clear of this latest Bollywood action flick that kind of pushes our neighboring country’s ruling party’s agendas, so obviously it starts to creep you out. I couldn’t even reach the interval, so no review for that either.
This brings us to our review of the week and this time I’ll begin first with the recommendation itself. “The Power of the Dog”, a Western drama written and directed by Jane Campion, is highly recommended, especially for cinema connoisseurs who like movies that have depth in their story, screenplay, direction and acting. The Power of the Dog is one of those rare Westerns written and directed by a woman; it is also not your typical Western flick. There are no lawbreaking, gun-slinging cowboys and lawmen on horses. Instead, the film, based in 1925 Montana, shows life at a ranch and its people in a whole different light.
Brothers Phil (Benedict Cumberbatch) and George Burbank (Jesse Plemons ) are wealthy ranch owners in Montana. The two, while appearing close, with them sharing a room even as adults living in a large house, are totally different by nature. Phil is a hardened, gruff, masochistic cowboy while George is more refined, soft-hearted and gentle. The brothers also continuously talk about Bronco Henry, a deceased friend and mentor, with gratitude and fond memories.
Both middle-aged bachelors, George meets inn owner Rose Garden (Kirsten Dunst), a widow, and falls for her. Smitten, George marries her without informing Phil and brings her to live in the ranch. Phil, on the other hand, hates Rose as he thinks she is seducing George to take over his wealth while he also hates and mocks her son Peter (Kodi Smit-McPhee) for being effeminate. The entry of Peter—a medical student whose studies are being funded by George—into the ranch during his summer break sets into motion a dynamic that makes up the rest of the film.
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The Power of the Dog is slow and gritty. But it is also aesthetically beautiful. There are multiple long shots that establish the beautiful landscapes of the regions the film is shot in. Long shots also represent the constant mental turmoil of each character. Ari Wegner’s cinematography is solemnly artistic and the lighting as well as color tones reinforce the film’s somberness.
From the very beginning, the background music forecasts impending doom. But even as the music gets ominous, the visual progression towards the darker side is deliberately delayed. The characters do not get suddenly angry. There’s a cucumber-like coolness in all the main characters, making the audience uneasy at times. Sometimes not getting what one expects makes for a thrilling experience, it seems.
In his role, the young actor Kodi Smit-McPhee equals the skills and earnestness of industry veterans Benedict Cumberbatch, Kirsten Dunst and Jesse Plemons. Each of the lead actors gives their career-best performances in this movie that demands their respective characters to be layered, complex and yet relatable. Writer and director Campion makes ample use of the acting powerhouses, making for a delightful watch.
Who should watch it?
For an average audience, The Power of the Dog might seem slow and lengthy. But for someone who enjoys various aspects of a movie including acting, direction, background score, cinematography and other technical factors, it is an unmissable film.
The power of the Dog
Rating: 4 stars
Genre: Western/drama
Actors: Kodi Smit-McPhee, Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons
Director: Jane Campion
Run time: 2hr 6mins
‘We Are Okay’ book review: A simple, touching read
I love books that make me well up or cry. They feel so cathartic. Recently I read ‘We Are Okay’ by Nina LaCour after weeks of staring at its gorgeous cover. It’s a short read and I finished it in a day. But the emotions it stirred have stayed with me since. Every time I see the spine of the book on the shelf, I’m reminded of how the simple story made me feel and I get goosebumps. LaCour’s tale of grief and coming to terms with it is a lesson on how you don’t have to navigate your life alone and that being open and accepting the help and love you get can heal you. For such a slim book, it packs quite a punch.
We Are Okay is the story of a college freshman named Marin who leaves behind everything and everyone after the sudden death of her grandfather. But her best friend, Mabel, isn’t giving up on her. After repeated failed attempts to connect with her via texts and emails, she visits Marin at her college in New York during winter break when the latter is alone in her dorm. Everyone else has left for the holidays. The narrative alternates between present day and flashbacks to Marin’s life with her grandfather. Slowly you get the idea of what happened in Marin’s life for her to cut ties with everyone. LaCour is a noted LGBTQIA+ novelist and she explores the relationship between Marin and Mabel in that context as well.
Also read: My Dark Vanessa book review: Lolita in the age of #MeToo
The different settings make the story interesting. In the present, it’s December in New York. There’s a storm raging outside and the gloomy environment reflects Marin’s sense of displacement and loneliness. Then we flashback to California during summer. There is a lot of warmth, comfort, and a sense of safety here. There is a familiarity in the regular rhythms of Marin’s life with her ‘Gramps’. Mabel’s family treats Marin as one of them and there’s a lot of love. Shuttling back and forth between the two settings gives you a complete picture of what’s going on and you see why Marin’s grief runs deep.
LaCour’s writing is so impactful that you feel every bit of Marin’s sadness. You feel her struggles as she tries to own up to her mistakes, make amends, and do the right thing despite her aching heart. Mabel is the best friend anyone could ever ask for. You realize she too must be hurting by constantly being pushed away. The fact that she has had to keep her own feelings aside to tend to Marin overwhelms you time and again.
We Are Okay conveys a powerful message about love, loss, and friendship. It’s just the book you should pick up if you are in need of some comfort.
We Are Okay
Four stars
Fiction
Nina LaCour
Published: 2017
Publisher: Penguin Books
Pages: 234, Paperback
Lappan Chhappan movie review: Old gangsta gig gone wrong
This week has been a fearful one, not just because of the rise of the new and updated Omicron coronavirus variant but also because there have been a string of announcements of soon-to-be released Nepali films—and I may have to watch a few of them. “Chapali Height 3” is all set to clash with “Spiderman: No Way Home” on December 17 and, by the looks of the former’s tasteless poster and uninspiring trailer, we know which one will barely make it through the week. And add South Indian film star Allu Arjun’s “Pushpa: The Rise” to be released on the same day and you’ll all understand what risky business is going on in Kollywood with films completed way before the pandemic set to be released now.
Another “big release” coming soon to Nepali theaters is “Lappan Chhappan 2”, which was initially set for April 9 this year. The star-cast features accomplished actors like Saugat Malla, Arpan Thapa, and the legendary Shiva Shrestha, so it was bound to grab attention. That attention took me to its prequel—the 2017 film “Lappan Chhappan” that’s available for free on YouTube on the HighlightsNepal channel.
When a film’s sequel is made, one expects the original to be above average. What’s the point of making a sequel to something that’s not successful in the first place? But our filmmakers seem to have a whole different train of thought. I think Nepali film sequels are based more on how much funding the producers can get instead of what the story actually demands.
But the Nepali gangster movie does give a hint that there’s another film in the making at the climax. Directed by Mukunda Bhatta, Lappan Chhappan is a heist-themed gangster film with multiple characters in the limelight. And when there are multiple actors in a criminal movie, they are bound to collide and double-cross each other to emerge victors.
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So Lappan Chhappan carries the same theme of gangsters, wannabe gangsters, rivals and the police trying to outfox each other. Banka Guru (Saugat Malla) is a dangerous criminal hiding in Belgium after murdering a minister in Nepal. Banka’s associate Chamero Don (Arpan Thapa) meanwhile runs the gang’s operations in Nepal. Baby (Barsha Siwakoti) comes to Nepal and hires a couple of hackers (Devu Shrestha and Sid Kharel) to pull off a digital heist. Meanwhile, Tanke (Dayahang Rai), one of Chamero’s henchmen, seems to have bigger goals than what we are initially given to believe.
Too many characters, including the ones I’ve not named, and too few backstories, were my first thought while watching the film. Right from the start, the film layers up character after character but without the audience getting any time to connect to even one. Like we know Banka comes from a normal middle-class family and is now one of the biggest criminals in Nepal—but how did he get to being that? There’s a small explanation on how he turns out to be eccentric but that is unconvincing as well. Also, the two hackers who play an important role in the film have literally no significant presence even though they contribute to major twists and turns.
With its weak writing and direction, one can't help but feel for the actors who have tried to put up their best performances but there’s only so much they can do. Lappan Chhappan is mostly shot in Belgium (with some bits in Switzerland) but as the camera is too busy following the characters, the film fails to make use of the aesthetic locations. Might have well shot the whole thing in Chovar and nobody would have noticed.
Who should watch it?
Lappan Chhappan is kind of difficult to like or watch till the end. It’s like watching a toddler draw a landscape. You know what they’re trying to do but you also know they will not execute it well—but you’ll still have to clap for them in the end. Well, that’s what the Nepali filmmakers want us to do and if you don’t mind celebrating mediocrity, you might as well enjoy Lappan Chhappan.
Lappan Chhappan
Rating: 2 stars
Genre: Crime, action
Director: Mukunda Bhatta
Cast: Saugat Malla, Arpan Thapa, Barsha Siwakoti, Dayahang Rai
My Dark Vanessa book review: Lolita in the age of #MeToo
The innocence of childhood and newfound thrill of love and attention in teenage years can be exploited by the wrong people. How do you make children and young adults understand the need to report any kind of harassment and behavior that makes them uncomfortable? How do you tell them that they needn’t ever feel guilty about it? That they are never at fault, no matter what anyone tells them? I don’t have children, but this inevitable duty scares the daylights out of me. What if I fail to guard them against the predatory nature of psychopaths? Reading books that deal with sexual abuse makes me nervous—fiction is often a stark reminder of how abuse can often go unnoticed. But it also fills you with an added sense of responsibility to be better attuned to its signs.
Heavily influenced by Vladimir Nabokov’s ‘Lolita’ and with multiple references to it throughout the book, ‘My Dark Vanessa’ by Kate Elizabeth Russell is the story of the sexual relationship between a 15-year-old schoolgirl and her 45-year-old English teacher, Jacob Strane. Vanessa, now in her 30s, is being forced to relive what happened to her when sexual abuse allegations are made against Strane by other girls. The problem is, Vanessa doesn’t consider herself to be a victim. For her, Strane was her first love. She lied to protect him when their relationship was discovered during her school days and she has, over the years, been in touch with him every now and then.
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Vanessa blames herself for Strane’s inability to control himself. “I was the first student who put the thought in his head,” she thinks, parroting Strane’s words. “There was something about me that made it worth the risk. I had an allure that drew him in.” Brainwashed into thinking what they had was rare and whatever happened was because Vanessa allowed it, their ‘teacher-student relationship’ never feels like abuse to the victim. Even when Vanessa is uncertain and starts doubting Strane, he finds ways to pin the blame on her and makes her feel guilty—such is the extent of Strane’s manipulation.
The story feels a bit overwhelming as you can see what the protagonist can’t. You realize how damaged Vanessa is while understanding exactly why she doesn’t think so. Through her story, Russell shows why some women don’t see themselves as victims of abuse and how, because of that, even years later abusers have some form of control over them. My Dark Vanessa, as painful as it is to read and comprehend, is a smart, important book that can be an essential tool to amplify the #MeToo movement.
