Rating: 
Summary: A Deserving Film Gets a Great Package
Review: This film gets excellent treatment in this DVD, despite the quibbles one might have over over-acadamized touches in some of the essay/commentary material, but I suppose that only goes to prove the film's impact and staying power. Lots of interesting extras, well worth the investment, especially for Sam fans.I have a mixed reaction to the voice-over commentary, much of which is interesting, some of which I find debatable. I take exception to the idea that David is in fact the "heavy", though his passive-aggressive conduct is note-worthy. Peckinpah may indeed have originated this notion, but he was known to be argumentative, and not always the most trustworthy interpreter of his own films (Major Dundee as Moby Dick in the desert?). I think he may have been trying to down-play the idea of David as home-defending hero, which he knew would be a reaction, and was mainly planting the idea that the character wasn't all that admirable. I mean, if David's the heavy, who's the protagonist?
A quick glance at many of the non-academic reactions to the film's climactic sequence should give a clue as to whom the audience at least wants to root for. Maybe we're meant to be completely repulsed, and not pull for anyone in the final melee, but that's tough to do; I don't believe the case can be made that the local toughs are the good guys, anyway. David Sumner is definitely the film's protagonist, and rather like Alex in the other infamously violent film released the same year, A Clockwork Orange, he attracts audience sympathy despite his flaws. The director needs for the audience to identify with someone in his story, while setting them up to question what that identification means. Also, the voice-over guy is locked into a woman-good, man-bad mindset, at least in regard to the Amy and David couple. According to the commentator, David is completely cold, uncaring, vicious, selfish, and other bad stuff, while Amy is his noble, all-virtuous victim. Not only does this contradict the usual Peckinpah-as-misogynist stuff available in the "Man of Iron" documentary, but it goes against the director's running theme of violence and complicity. He completely ignores Amy's role in pushing David into a more macho, violent stance - he only seems interested in finding ways to denigrate the David character, and you can hear his argument running out of steam toward the end. As for "Man of Iron" - I had seen it broadcast some years ago, and recall being somewhat disappointed, though I appreciated it more on seeing it again. It is rather rambling, with some I think dubious interiew subjects - the screenwriter Alan Sharp for instance, who apparently only worked on one picture with Peckinpah, which he seemed ashamed of, and otherwise didn't seem to really know the man or think too much of his work. The documentary tends to go off on tangents, like the obligatory woman-hating and brutal-behaviour accusations, which go mostly unsupported here. On the other hand, Kristofferson, Coburn, R.G. Armstrong, L.Q. Jones and others offer lots of interesting incidents and insights, and make it overall a valuable, touching look at the maverick filmmaker.
Rating: 
Summary: Straw dogs is for the dogs
Review: I began reading this novel and couldn't get past the first 100 pages. It seemed like a good story though so I bought this DVD. Maybe it went over better in the 70's, but really this movie is just not good. While watching it with a friend, we had to fight back the urge to hit the next chapter button. It just seemed a very slow and dull movie. Even when there is action, it's kind of boring. When all the men attack the house, Dustin Hoffman sets up many traps and it's pretty much just a 1970's Home Alone. I think Home Alone is better though.
Rating: 
Summary: The most intense movie ever made!
Review: Straw Dogs, however out-dated it may be, is the most riveting of thrillers about finding ones strength and courage. The old saying of how every man has his breaking point is dramatically, devastatingly demonstrated through Hoffman as his character, David Sumner, experiences overwhelming pressure and anxieties from the neighboring bullies, who all seem to have no control over the violent lifestyles they exhibit. David's wife, played by beautiful and sexy Susan George, is at-once scared to death and knows she or David should do something, but is too frightened to speak or carry out anything of that matter. When the antagonists plot a way to get inside David's house to retrieve a rumored attacker, David stands alone in the most gut-wrenching, eye-opening action sequences of the 70's or any decade. The ending will either leave you cheering his triumphs, or be shocked and repulsed at how easily one is affected by violence. Smashingly directed and acted out, all innocence will be lost.
Rating:
Summary: This Is How This Film Should Be Treated On DVD
Review: This is probably not his best known film. Yet again, Sam Peckinpah is not very known at all outside his audience or film majors. But you can't deny his wit and style that influenced many filmmakers in the generations that followed with his distinct ways. 'Straw Dogs'Ewas also released the same year as 'A Clockwork Orange'E giving us 2 violent classics in one year. Many blamed 'Straw Dogs'Efor glamorizing a violent lifestyle, and using violent images as a way to rebel and/or entertain audiences. From the rape scene to the violent end, images haunt you. Especially the way Peckinpah intercut shots of the rape scene further into the film, almost subliminally with a single frame. But Peckinpah did not use this movie to glamour violence, but only to show how much it can destroy one self, and hurt others in the process. It is more about growth, of how a man who could not stand up for himself in the past can transform into almost a monstrosity of power in his own self defense. At the same time distancing himself from what he used to be, and coping with what he has become. This is not glamorous. He shows how this can be very dangerous. But if you were in the same shoes as David Sumner (Dustin Hoffman), would you do the same? Or if you were a friend of David's before the movie, would you still befriend the David after the closing credits? This is distinctly a Peckinpah film with a psychological twist. And only human. Many layers are involved and can definitely use multiple viewings. Image Entertainment released this movie a while back bare-boned and non-anamorphic. Criterion Collection got the rights and preserved this the way it is meant to be. The restoration is unbelievably good, and it probably has not sounded or looked this good since its premier in 1971. But all in all, it's all about the supplements. An intriguing booklet with tons of essays and an interview with the ever-stubborn Peckinpah is also included. The second disc is filled with material, including recent interviews with Susan George and Daniel Melnick, and an on-location interview with Dustin Hoffman (the new 'It Guy'Ein cinema) from 1971 BBC. But the BBC documentary 'Man Of Iron'Estands out the most. An intriguing documentary about one of the most influential directors who ever lived, with many clips of friends and family tell stories of the director's style and might, trying to explain his material to censors, critics, and audiences and his ultimately lonely end. Criterion has done extremely well on this one. This one is too good to leave on the shelf, and especially with the fact that this DVD will only be around until 2004 (supposedly). THIS IS THE WAY A CLASSIC UNDERAPPRECIATED MOVIE IS SUPPOSED TO BE TREATED. Thank you Criterion, you answered many fans of cinema, and Peckinpah. Best Shot/Sequence: You HAVE to watch the movie in its entirety to understand this. The very scene, where David is driving Niles away, and Niles says 'I don't know my way home'E David tells him that 'It's OK'E For a while he pauses and grins and tells Niles 'I don't either'E It was arguably Dustin Hoffman's best deliverance in a movie, and the PERFECT conclusion to the movie which was adlibbed, and not even the original ending of the book (which was too happily ever after at the end).
Rating:
Summary: Passive Aggressive Masterpiece
Review: Great Criterion release of a much abused classic. Great writing, editing (sound and picture) and acting. Great commentary from Peckinpah expert gives insight to this masterpiece. Also, good Peckinpah documentary included.
Rating:
Summary: PEACENIK HOFFMAN GOES BONKERS
Review: In 1971 Sam Peckinpah's controversial STRAW DOGS was censored by the British Board of Film Classification. The cuts made it even more provocative than Peckinpah intended. Consequently, Straw Dogs was labeled by the media as an obscene, misogynistic piece of filmmaking. Regarding the uncut American version, even the esteemed Pauline Kael said it's "the first American film that is a fascist work of art." "Straw Dogs" stands as one of Peckinpah's best, and a reminder of the ongoing struggle between an artist's freedom and suppression by the powers that be. But more than that, it's a brilliant and harrowing exploration of man's primitive animal nature and its implied, inherent violence. The transfer's clean and sharp. Extras include an 80 minute look at Peckinpah's films and a new interview with Susan George, who talks about her daring, controversial performance of a woman who for a few brief moments seemed to enjoy being raped. What does "Straw Dogs" mean? Is it from the saying: Behind every coward's eyes burn straw dogs? If so, what does that mean? What are "straw dogs"? Another thing. Recently (of this writingt) Dustin Hoffman has made a point of speaking out about certain military operations to free brutalized, oppressed people. Personally, I'd rather not know what an actor thinks and feels about politics. However, in "Straw Dogs" Hoffman shows what it takes to fight evil aggression. His screen performance will outlive his words. Recommended.
Rating:
Summary: Psychological study of hero turning from mouse to man
Review: This 1971 film was considered so violent that it was banned in the U.K. at the time. I can understand why, especially since a group of British ruffians are shown in a bad light. Yes. I found it violent. And yet it is more than that. It's a psychological study of the hero turning from mouse to man. Dustin Hoffman stars as a quiet mathematician who moves to England with his wife, Susan George, for peace and quiet and time to work on his studies. A gang of young toughs harasses them with dire results. Time after time Dustin Hoffman refuses to take a stand against them. Susan George taunts her husband, picks fights with him and tries to compete with his love of mathematics. Eventually, the violence against them escalates and Dustin is forced to defend his home. I found the beginning slow but this was the director, Sam Pickenpah's intention. The tension mounts slowly and then, when it does erupt, it bursts forth with horror. The acting was excellent even though the situation seemed a bit overdone. Mostly I enjoyed it for its historical significance because I know that this kind of film wouldn't be made today. That's because the role for the wife is nothing less than that of a stereotypical female. She doesn't have any meaningful work or interests of her own other than trying to get her husband's interest and flaunting her body in front of the workingmen. She is whiney and weak and has big tears in her eyes most of the time. Finally, at the end, she somewhat redeems herself, but she is definitely an unlikable character. And so is Dustin Hoffman, until he decides to let out the straw dog of violence, which has been locked up in him for a lifetime. I was disturbed by the film, which held my interest throughout, and feel it certainly was well done. I do recommend it but even though it was good, I feel there is better stuff around.
Rating:
Summary: Guts ............!
Review: Set during the Viet Nam era, this extraordinary film by Sam Pekinpah is based on the novel "The Seige of Trencher's Farm" - Hoffman as the aloof outsider now married to a local girl with 'very firm ties to her village' and 'friends' [err - non-forgiving old boyfriends ....] It's almost a horror movie along the lines of 'Plague of the Zombies' but so much more [that disturbing rape scene]. Hoffman is the pacifist husband who must eventually resort to brutal violence in order to defend his property, wife and the local town simpleton [David Warner in a brilliant unbilled role] from a small but deadly group of drunken, shotgun-toting villagers. It's brutal, nasty and in your face - disturbing to watch Hofman's slow conversion to violence - and the actual execution of his defence. And that odd ending? Shrouded in the fog - Hoffman and Warner 'seeking home'?? Would be interesting to see a remake - keeping the original characters intact [the little girl is deleted from this version]. STILL not for the impressionable or the very young.
Rating:
Summary: Read SAVAGE CINEMA
Review: To understand how this film is not as sexist or macho as many critics label it, including some on this page, you should read SAVAGE CINEMA: Sam Peckinpah and the Rise of Ultra-Violent Movies. Why this couple is together, and what is really going on in the film will suddenly make a whole lot more sense.
Rating:
Summary: Finally, the red-carpet treatment.
Review: I'm not sure which DVD edition the viewer from the United Kingdom was talking about; but if he was referring to the Anchor Bay edition, then he was incorrect when he stated that it contained the edited, R-rated American print. The Anchor Bay edition contained the uncut British version, with the rape scene intact. That said, the Anchor Bay DVD has no extras; finally, this Peckinpah masterpiece is being released in a Criterion version that should give it the red-carpet treatment. In my opinion, this is one of those universally misunderstood films. Rather than a film that celebrates violence or defends its neccessity, the film is actually a warning about the inevitability of violence if we deny our capacity both to commit violence and to enjoy it in the process. We can't guard against certain modes of behavior if we don't admit to their existence, can we? In its own, more intimate way, Straw Dogs is as much of a masterpiece as The Wild Bunch.
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