Kirsten Dunst and Benedict Cumberbatch steal the show in ‘The Power of the Dog’

This article contains mild spoilers for “The Power of the Dog.”

“The Power of the Dog” is a fascinating deconstruction of the Western genre. Jane Campion’s grand retelling of Thomas Savage’s 1967 novel acts as an exploration into the painful and lasting consequences of mental, verbal, and sexual abuse. Campion’s long-awaited return to cinema is bolstered by a breathtakingly compelling depiction of the early 20th century West paired with the masterful performances of Kirsten Dunst and Benedict Cumberbatch, which overshadows the sluggish pacing of the film’s plot.

Whether it’s an awe-inspiring establishing shot of the sprawling countryside, an eerie silhouette painted on the wall from the beaming moonlight or a striking close-up of blood-stained wheat, “The Power of the Dog” is a visual marvel. Unsurprisingly, one of the film’s 12 Oscar nominations – the most for any contender in this year’s Academy Awards – was for Best Cinematography.

The story takes place in 1925 Montana and is primarily told from the perspective of Phil Burbank (Benedict Cumberbatch), a temperamental, yet charismatic ranch owner as he battles with longstanding emotional trauma. Phil swears by his late mentor, “Bronco Henry” and his decisions are seemingly driven by the effects of their relationship.

Cumberbatch brings a distinctive rawness and a dedicated authenticity to the role, which he attributes to his use of method acting. From the outset, his piercing stares and baritone vocals establish an immediate sense of intensity within Phil that is felt in each and every moment he’s on-screen.

During a cattle drive, his solemn and soft-spoken brother, George Burbank (Jesse Plemons), immediately falls in love with a widowed innkeeper, Rose Gordon (Kirsten Dunst). Shockingly, they share a lack of on-screen chemistry, despite not only having prior experience playing a convincing couple in the television series “Fargo,” but also being married in real life. Despite this, Dunst still conveys an absolutely fantastic individual performance in her tragic portrayal of Rose.

Not long after falling for each other, the two get married and Rose moves in with them, bringing her son Peter (Kodi Smit-McPhee). Phil becomes irrationally angry with their arrival and responds by perpetually harassing Rose and her son, whom he already taunted for his effeminate manner upon meeting. He does everything in his power through mental abuse and verbal manipulation to make their experience at the ranch a living hell.

This comes to a head during the night of an upscale dinner party that George hosts to introduce Rose to his parents and hopefully win over their approval. He brags about her talent for the piano and makes several remarks on how much she had been playing over the last few months.

Unbeknownst to him, her attempts to practice have been sabotaged by Phil. After being asked to play, she nervously pleads for them to reconsider but it’s too late. As George and the guests move from the table and set up near the piano, Rose remains glued to her chair. Dunst relies solely on minute physical cues to showcase the fear and anxiety that is rapidly building within her character.

Dunst’s worried facial expressions are accompanied by a gentle stutter. Her eyes dart from side to side and her breathing intensifies as her character realizes they won’t take no for an answer. Finally, she forces herself to walk toward the piano. Her breath trembles and her hands shake above the keys until finally, she withdraws completely unable to even start the song. Her apology diminishes to a whisper as their disappointing stares bead down on her. Dunst intricately illustrates feelings of fear, embarrassment, and defeat in a way that isn’t at all overbearing but is instead graceful in its subtlety.

“You didn’t play? You sure did practice a lot,” Phil questions mockingly as he whistles the tune of the exact song she just failed to play.

This serves as Rose’s breaking point, causing her to turn to alcohol as a coping mechanism for his incessant harassment. Despite having an abusive and tumultuous relationship with Rose, Phil takes a curious liking to her son. They form an ambiguously deep bond during the latter half of the film that is teeming with sexual undertones and borders on grooming.

During a hazy fit of rebellious intoxication, Rose gives away several of Phil’s leftover hides in an attempt to get back at him for how he’s treated her. It’s in this moment where Cumberbatch steals the show with a career-best moment.

He frantically paces around the barn in a dramatic fit of rage cursing Rose and screaming hysterically at Peter and George. His angry outbursts are interspersed with unique moments of vulnerability, executed beautifully by Cumberbatch. His frustrated screams fill the room, but his glistening eyes betray him as they fill with tears. Cumberbatch seamlessly alternates between feelings of anger and pain, perfectly exhibiting his character’s constant inner struggle.

Phil’s guard is down, and, at this moment, he is unable to shield his true emotions, which Peter notices and takes advantage of.

“I wanted to be like you,” Peter admits as he stares into Phil’s eyes.

Phil grabs the back of his neck and leans in close, his lip quivering.

“That’s damn kind of you, Pete.”

Finally, his outward shell of machismo cracks to reveal an inward tenderness that has been hinted at throughout the film, but not fully uncovered up until this point. Cumberbatch’s ability to harness such a vast range of emotions in just a few minutes of the same scene is remarkable.

Campion’s return to the big screen is the textbook definition of a slow burn. For better (and for worse) the film is deliberate in its slow-moving action and gradual character development. Although this makes the shocking final twist that much more effective in its anguish, it also results in a dreadfully slow start to the plot. That being said, the nuanced performances of Cumberbatch and Dunst paired with the breathtaking imagery are something to behold and more than enough to keep the viewer captivated.