First, this story is set in the 1925 American West on a cattle ranch. The central theme is male/female and male/male relationships, something that's common to humanity anywhere, any setting. However, being in the American West with cowboys, the setting does become relevant because the story here deliberately subverts the pervasive 'purity' of the genre's historical machismo.
So, in Montana, two unmarried brothers - Phil and George Burbank (Cumberbatch, Plemons) - are preparing a cattle drive to the local town of Beech. There is a rough camaraderie between them, with Phil, ego-driven and dominant, addressing George as Fatso most of the time and mildly denigrating George's thinking or behaviour. We see that 'dull' George is quietly sociable with others, but Phil - an accomplished musician and Yale graduate - is generally aloof, arrogant and critical to most and avoids social contact - particularly with women. And as brothers often do, they still sleep in the same bedroom.
All that changes when George tells Phil that he and the widow Rose Gordon (Dunst) in Beech, are now married. Along with Rose also comes Peter (Smit-McPhee) as her young, lanky and somewhat effete-looking son. Ironically now, brother George is no longer alone, but Phil is. To Phil, that is totally intolerable. So, what does Phil do? Livid with fury, he brutally abuses one of his favourite mares until the horse escapes.
Then, knowing he cannot sexually dominate Rose, he sets about destroying her intellectually and socially in a series of unforgettable scenes. Like a dog that physically worries a bone for the tasty marrow, Phil relentlessly disparages every aspect of Rose's behaviour and character, draining her core persona so that she finds solace only in alcoholism. Ultimately, Rose is a shell, an empty bone. The script is so precise and the acting so well expressed, it's sometimes uncomfortable to watch such evil oppression and degradation.
Moreover, in a succession of interwoven scenes with the above events, Phil shows he is indeed a closet homosexual. And, having failed to degrade the marriage of George and Rose, Phil sets about turning Peter into his buddy and student in the cowboy ways; which, in turn causes more stress and depression for his mother. Peter, of course, notes what is happening to his mother.
Thereafter, the story reaches a denouement concerning the developing relationship between Phil and Peter; but the resolution is mysterious and open to interpretation.
There is not much to criticize in this production, in my opinion. Although, not being a 'typical' Western and a bit lengthy perhaps for some viewers, it will have its critics, for sure.
Recommended for mature audiences. Eight out of ten.
So, in Montana, two unmarried brothers - Phil and George Burbank (Cumberbatch, Plemons) - are preparing a cattle drive to the local town of Beech. There is a rough camaraderie between them, with Phil, ego-driven and dominant, addressing George as Fatso most of the time and mildly denigrating George's thinking or behaviour. We see that 'dull' George is quietly sociable with others, but Phil - an accomplished musician and Yale graduate - is generally aloof, arrogant and critical to most and avoids social contact - particularly with women. And as brothers often do, they still sleep in the same bedroom.
All that changes when George tells Phil that he and the widow Rose Gordon (Dunst) in Beech, are now married. Along with Rose also comes Peter (Smit-McPhee) as her young, lanky and somewhat effete-looking son. Ironically now, brother George is no longer alone, but Phil is. To Phil, that is totally intolerable. So, what does Phil do? Livid with fury, he brutally abuses one of his favourite mares until the horse escapes.
Then, knowing he cannot sexually dominate Rose, he sets about destroying her intellectually and socially in a series of unforgettable scenes. Like a dog that physically worries a bone for the tasty marrow, Phil relentlessly disparages every aspect of Rose's behaviour and character, draining her core persona so that she finds solace only in alcoholism. Ultimately, Rose is a shell, an empty bone. The script is so precise and the acting so well expressed, it's sometimes uncomfortable to watch such evil oppression and degradation.
Moreover, in a succession of interwoven scenes with the above events, Phil shows he is indeed a closet homosexual. And, having failed to degrade the marriage of George and Rose, Phil sets about turning Peter into his buddy and student in the cowboy ways; which, in turn causes more stress and depression for his mother. Peter, of course, notes what is happening to his mother.
Thereafter, the story reaches a denouement concerning the developing relationship between Phil and Peter; but the resolution is mysterious and open to interpretation.
There is not much to criticize in this production, in my opinion. Although, not being a 'typical' Western and a bit lengthy perhaps for some viewers, it will have its critics, for sure.
Recommended for mature audiences. Eight out of ten.