Dogman – first look review | Little White Lies

Festivals

Dog­man – first look review

17 May 2018

Words by Adam Woodward

A large dalmatian dog lying on an examination table in a veterinary clinic, with a veterinarian standing beside it.
A large dalmatian dog lying on an examination table in a veterinary clinic, with a veterinarian standing beside it.
Mat­teo Gar­rone returns to the crime-stained streets of south­ern Italy for his lat­est social real­ist parable.

Dogs of all shapes and sizes fea­ture in Mat­teo Garrone’s ninth fea­ture, which sees the Ital­ian direc­tor return to his social real­ist roots with a low-key crime dra­ma that calls to mind his Cannes Grand Jury Prize win­ner from 2008Gomor­rah. Man’s best friend is not the pri­ma­ry focus here though – as per the title, the film cen­tres around a gen­tle dog groomer named Mar­cel­lo (Mar­cel­lo Fonte), who runs a small shop in a rough neigh­bour­hood some­where near Napoli.

Giv­en the authen­ti­cal­ly grit­ty set­ting, where every­one is seem­ing­ly on the take, it’s unsur­pris­ing to learn that Mar­cel­lo sells cocaine on the side to help pay for reg­u­lar scu­ba div­ing trips with his young daugh­ter. Soon, how­ev­er, Marcello’s illic­it deal­ings see him become mixed up with a hot­head­ed local brute named Simone (Edoar­do Pesce), who’s quick to take advan­tage of Marcello’s pas­sive nature and diminu­tive stature.

A person walking two dogs on a wet, muddy beach with a white wooden fence in the background.

Marcello’s unwa­ver­ing kind­ness towards ani­mals (in one scene he returns to the scene of a bur­glary to res­cue a chi­huahua, which one of the rob­bers has left to die in a freez­er) makes him an instant­ly endear­ing char­ac­ter. Although this could be viewed as a cheap ploy from Gar­rone, the film ben­e­fits great­ly from the lighter moments where Mar­cel­lo is shown wash­ing, walk­ing and gen­er­al­ly mak­ing a fuss over the var­i­ous pooches in his care.

Dog­man is being pitched as an urban west­ern”, and Nico­lai Brüel’s dirt-smudged cin­e­matog­ra­phy cer­tain­ly adds a lay­er of grime and gloom to pro­ceed­ings. Yet while the film is com­pelling enough as an unsen­ti­men­tal por­trait of social decay in south­ern Italy, it lacks the mus­cu­lar­i­ty and vis­cer­al jolt of Garrone’s ear­li­er work. Marcello’s sym­pa­thet­ic putz schtick wears thin after a while (although Fonte works won­ders with the mate­r­i­al), and there’s a sense of shrug­ging inevitabil­i­ty about the sym­bol­ic act of ret­ri­bu­tion that clos­es out the film.

Gar­rone cer­tain­ly knows how to con­struct taut alle­gor­i­cal thrillers on this scale, but fol­low­ing the director’s ambi­tious, dark­ly com­ic Real­i­ty and Tale of Tales, which debuted at Cannes in 2012 and 2015 respec­tive­ly, we were hop­ing for some­thing with a bit more bite.

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