Straw Dogs (1972)

R | 113 or 117-118 mins | Drama | 1972

Director:

Sam Peckinpah

Producer:

Daniel Melnick

Cinematographer:

John Coquillon

Production Designer:

Ray Simm

Production Companies:

ABC Pictures Corp., Talent Associates Films, Ltd., Amerbroco Films, Ltd.
Full page view
HISTORY

The working titles of this film were Siege at Trencher’s Farm , The Siege of Trencher’s Farm and The Square Root of Fear . Some contemporary news items referred to the picture as The Straw Dogs or The Strawdogs . According to Filmfacts and other contemporary sources, the title was taken from a quote from the Tao Te Ching by Lao Tzu: “Heaven and Earth are ruthless and treat the myriad creatures as straw dogs; the sage is ruthless and treats the people as straw dogs.” A model of a dog made out of straw was used as an offering in ancient Chinese ceremonies, and then was discarded; the phrase can also refer to other types of offerings that are discarded after a ceremony. Although the onscreen credits contain a 1972 copyright statement for ABC Pictures Corp., the film was not registered for copyright protection. Cherina Schaer ( Louise Hood ) is credited as Cherina Mann in Filmfacts and some contemporary reviews.
       Straw Dogs differs significantly from The Siege of Trencher’s Farm , the Gordon M. Williams novel on which it was based. In Williams’ novel, the American husband, named George Macgruder, is an English professor on sabbatical to write a literary biography, and he and his wife Louise have a young daughter. Although Louise is English, she is not from the village near Trencher’s Farm, where the Macgruders are staying, nor is the character of “Charlie Venner” her old boyfriend. Venner and his friends do not work on the Macgruders’ barn, and Louise is ... More Less

The working titles of this film were Siege at Trencher’s Farm , The Siege of Trencher’s Farm and The Square Root of Fear . Some contemporary news items referred to the picture as The Straw Dogs or The Strawdogs . According to Filmfacts and other contemporary sources, the title was taken from a quote from the Tao Te Ching by Lao Tzu: “Heaven and Earth are ruthless and treat the myriad creatures as straw dogs; the sage is ruthless and treats the people as straw dogs.” A model of a dog made out of straw was used as an offering in ancient Chinese ceremonies, and then was discarded; the phrase can also refer to other types of offerings that are discarded after a ceremony. Although the onscreen credits contain a 1972 copyright statement for ABC Pictures Corp., the film was not registered for copyright protection. Cherina Schaer ( Louise Hood ) is credited as Cherina Mann in Filmfacts and some contemporary reviews.
       Straw Dogs differs significantly from The Siege of Trencher’s Farm , the Gordon M. Williams novel on which it was based. In Williams’ novel, the American husband, named George Macgruder, is an English professor on sabbatical to write a literary biography, and he and his wife Louise have a young daughter. Although Louise is English, she is not from the village near Trencher’s Farm, where the Macgruders are staying, nor is the character of “Charlie Venner” her old boyfriend. Venner and his friends do not work on the Macgruders’ barn, and Louise is not raped at any point, although Venner and several other men do attack Trencher’s Farm in the book in order to extract “Henry Niles.” In the film, the character of “Janice Hedden” is a provocative teenager who entices Niles to engage in a romantic tryst, while in the novel, Janice is an eight-year-old, emotionally disturbed child who wanders off alone during the church social. In the novel, Niles, a small, sickly, convicted pedophile and murderer who has escaped from prison, never comes near Janice, although the villagers, having heard of his escape, are frightened that he has abducted her. The young girl is eventually rescued by the local doctor, a character who does not appear in the film. According to Filmfacts , Williams was so upset by the adaptation of his novel that he vowed never to sell another of his works to an American. In 1972, to coincide with the general release of the film, a paperback version of the book, retitled Straw Dogs and with the key art from the film on the cover, was published in the U.S.
       The rights to Williams’ novel were first acquired by Talent Associates in early Sep 1969, according a HR news item. On 13 Oct 1969, DV reported that David Susskind, the head of Talent Associates, would be producing the property for ABC Pictures Corp., with the picture being shot on location in New York City and Quebec. NYT reported on 19 Oct 1969 that the picture would be directed by Charles Jarrott with a screenplay by John Hale, but by Mar 1970, HR and other contemporary sources were announcing that Sam Peckinpah would direct and write the film, which marked his first non-Western in many years and his first production not shot in North America. A HR article noted on 23 Oct 1970 that Daniel Melnick, Susskind’s partner in Talent Associates, would personally produce Straw Dogs , thereby marking his debut as a feature film producer. Modern sources add that Melnick, Peckinpah, David Zelag Goodman, ABC Pictures Corp. head Martin Baum and star Dustin Hoffman all collaborated on the screenplay at various points, and that Peckinpah attempted to interest playwright Harold Pinter in working on it before production began, but Pinter, loathing the subject matter, refused.
       A 14 Oct 1970 HR news item announced that Judy Geeson would co-star in the picture, and modern sources add that she had been offered the role of Amy. Modern sources state that actors considered for the role of David included Elliot Gould, Donald Sutherland, Beau Bridges, Stacy Keach, Jack Nicholson and Sidney Poitier. Diana Rigg, Charlotte Rampling, Carol White, Jacqueline Bisset, Hayley Mills, Helen Mirren and Joie Gould, Peckinpah’s then girl friend, were considered to play Amy, and Trevor Howard was offered the role of “Major Scott.” Although the onscreen credits “introduce” actor Ken Hutchison, he had previously appeared in bit roles in two British productions.
       As noted by contemporary sources, the picture was shot on location in and around the villages of St. Ives and St. Buryan in Cornwall, England, with interiors filmed at Twickenham Studios in Middlesex, England. According to an Oct 1971 NYT article on the picture’s production, shooting was halted for ten days when Peckinpah was hospitalized with “something between exhaustion and pneumonia.” Modern sources add that Peckinpah’s illness was related to his habitual heavy drinking, and both Melnick and Baum threatened to fire him if he did not substantially reduce his alcohol consumption for the duration of filming. The NYT article also reported that the trouble-plagued production had three cameramen, the first of whom “was fired” and the second of whom “quit on religious grounds after he had read the entire script.” According to a modern biography of Peckinpah, the first cinematographer was Brian Probyn and the second was Arthur Ibbetson. Probyn is listed as the director of photography in all of the picture's entries on HR production charts.
       Modern source interviews relate that the picture’s first editor, an unnamed Englishman, was fired by Melnick for protesting to studio executives that Peckinpah’s footage was too erratic to be edited together coherently. Peckinpah then tried to hire Louis Lombardi, with whom he had worked previously, but Lombardi was busy editing McCabe and Mrs. Miller (see above). Because British guild regulations prevented Peckinpah from employing more than one American, Roger Spottiswoode, Tony Lawson and Paul Davies were hired to work jointly on the project, with American Robert Wolfe brought on as the “editorial consultant” who oversaw their work. HR production charts credit Norman Savage as the film's editor, but he did not work on the project.
       Contemporary and modern sources conflict as to the reason for David Warner’s uncredited participation in the film, with some asserting that Warner, who played Henry Niles, appeared in the picture as a personal favor to Peckinpah. [Warner had previously worked with Peckinpah on the director’s 1970 film The Ballad of Cable Hogue , see above entry.] Other sources maintain that Warner had been seriously injured prior to production and had difficulty getting insured, therefore his participation in the project was not credited. Warner does walk with a limp in the picture, which reputedly was due to his healing leg injuries. Another real-life injury that was shown onscreen was the fractured shoulder of actor T. P. McKenna, who was hurt during a cast party shortly before filming began. Although McKenna’s arm was confined to a sling, there was no attempt made to hide the injury onscreen, nor to explain it.
       According to modern sources, the rape sequence proved very problematic during production, as it was described only vaguely in the screenplay, and Peckinpah was reluctant to tell George the exact details of what was going to happen to her character during filming. When George threatened to quit if the scene was shot too explicitly, Peckinpah agreed to place more emphasis on her face, eyes and upper body, according to an Aug 2003 The Observer (London) article and other modern sources. In a 20 Dec 1971 Time article on the production, however, it was stated that when George “balked at playing the rape scene all the way to the end, the director simply brought in a double and kept going.” No interviews with George mention the use of a body double, however.
       Shooting the ending of the film also proved difficult, according to modern sources, which report that in the original shooting script, the children of the dead villagers menaced David and Amy, threatening to continue the siege. According to interviews contained on the 2003 U.S. DVD release, Hoffman ad-libbed the ambiguous ending line in which he tells Niles that he, too, does not know his way home, and Peckinpah decided to use that as the end. During post-production, Peckinpah began pre-production and location shooting on his next film, Junior Bonner (see above), which required the editors to move from England to Hollywood to complete Straw Dogs .
       According to Filmfacts , Straw Dogs ’s original running time at its London premiere was 118 minutes, but it was trimmed to 113 minutes before its release in the United States in order to receive an R rating from the MPAA instead of its original X rating. According to modern sources, much of the footage cut was from the rape sequence, especially the second attack, when Amy is raped by “Norman Scutt.” Despite the cuts, the R rating was controversial, with numerous groups and critics asserting that the film still deserved an X, although some writers asserted that the eliminations made the scene even more objectionable by deleting details that emphasized how traumatized Amy was. Although Peckinpah issued contradictory statements about his reactions to the MPAA-enforced cuts, in a 7 May 1972 letter to the editor in response to a 9 Apr 1972 NYT article about the eliminations, Peckinpah asserted: “I felt the so-called rape scene in Straw Dogs kept the integrity while losing very little of the dressing.” Peckinpah also claimed that he used several unspecified suggestions made by Dr. Aaron Stern, the head of the MPAA, “for the European version [of the film], because it made a better picture.” According to a circa 1972 Cinema article, contained in the film’s file at the AMPAS Library, “Peckinpah’s original version” containing the entire rape sequence was then currently in distribution in Europe.
       Straw Dogs was extremely controversial at the time of its release, with many reviewers lambasting Peckinpah’s depiction of violence, claiming that it was gratuitous and glorified, with the rape sequence being singled out frequently for criticism. In an Oct 1971 NYT article, Peckinpah defended the film by stating: “We’re violent by nature. We’re going to survive by being violent. If we don’t recognize that we’re violent people, we’re dead.” In one of the most famous analyses of the film, New Yorker critic Pauline Kael called Straw Dogs “the first American film that is a fascist work of art.” Although Kael grudgingly admired Peckinpah’s skill at manipulating the viewers’ emotions and considered him “an artist,” she intensely disliked what she considered to be his “statement,” that only through extreme violence does David become truly masculine and that “pacifism is unmanly.”
       According to modern sources, Peckinpah was deeply offended and hurt by Kael’s words, and in a draft of a letter to her, contained as added content on the film’s 2003, 117-minute, Criterion Collection DVD release, he warned that unless she publicly printed an explanation, he would take the matter up with his lawyer. Another critique taken personally by Peckinpah was that of Life reviewer Richard Schickel, who, while praising Peckinpah’s artistry, despised the film itself as “unredeemed, unrelenting evil.”
       Although the violence contained in the “siege” sequence—and the implications of it—were also debated by contemporary reviewers, many of them commented on how well it was edited and photographed. In an editorial about the picture, NYT writer Peter Schjeldahl called it “a long, beautifully paced, alternately dreamy and jolting sequence,” and even Kael termed the editing “superb.” Many contemporary critics compared Straw Dogs to Stanley Kubrick’s A Clockwork Orange (see above), which also was the focus of much discussion about the depiction of violence and sexuality in movies. Numerous film historians have considered Straw Dogs , as well as other Peckinpah pictures such as 1969’s The Wild Bunch (see below), to be forerunners of a trend toward depicting increasingly graphic violence in motion pictures.
       The film did attract much critical praise at the time of its release, with Newsweek ’s Paul D. Zimmerman proclaiming: “It is hard to imagine that Sam Peckinpah will ever make a better movie than Straw Dogs .” Jay Cocks, writing for Time , also hailed the picture, calling it “a brilliant feat of moviemaking.”
       The picture played in Los Angeles in Dec 1971 to qualify for Academy Award consideration, but did not play most areas of the country until 1972. The picture was nominated for an Academy Award for Best Music Score. In addition to becoming Peckinpah’s most successful picture at the box office to that point, Straw Dogs remained the most controversial of his career.
       Following its London premiere, Straw Dogs was a box-office hit in Great Britain, despite the condemnation of many English critics. In an article in The Times (London) on 28 Nov 1971, Steven Murphy, the head of the British Board of Film Censors (BBFC), defended passing the film for exhibition in Great Britain, stating: “We think this film is a serious attempt to do something about violence.” The theatrical version shown in England was the 118-minute version, given an X certificate, meaning that no one under the age of 18 could attend. Although Straw Dogs was available in its uncensored form with an X certificate on VHS until 1984, after then it “disappeared from circulation” due to new classification regulations enacted by Parliament, according to a Jul 2002 HR article, and was banned from being released on VHS again. Straw Dogs was not released again on VHS or DVD in Great Britain until 2002, at which time the 118-minute, uncensored version also had a limited theatrical release. According to a Jul 2002 article in The Independent (London) , the BBFC approved the 118-minute version upon the advice of three clinical psychologists who deemed “the present version of Straw Dogs …not harmful and…not likely to encourage an interest in rape or abusive behaviour to women.”
       Two remakes of Straw Dogs have been announced. The first, to be directed by John Polson and star Edward Norton, was announced in 2002, but appeared to be inactive as of Jun 2007. The other project, to be directed by Rod Lurie, was reported by a 30 Mar 2007 HR news item to be set in the United States rather than in England. The stars and ultimate release date for Lurie’s project had not been announced as of Jun 2007. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
3 Jan 1972
p. 4452.
Daily Variety
13 Oct 1969.
---
Daily Variety
14 Jan 1971.
---
Daily Variety
22 Jan 1971.
---
Daily Variety
26 Nov 1971
p. 3.
Daily Variety
30 Dec 1994.
---
Daily Variety
14 Aug 2002
p. 1, 17.
Film Quarterly
Fall 1972
pp. 61-64.
Filmfacts
1972
pp. 1-5.
Films and Filming
Mar 1972
p. 54.
Hollywood Reporter
5 Sep 1969.
---
Hollywood Reporter
24 Mar 1970.
---
Hollywood Reporter
14 Oct 1970.
---
Hollywood Reporter
23 Oct 1970.
---
Hollywood Reporter
5 Nov 1970.
---
Hollywood Reporter
29 Jan 1971
p. 20.
Hollywood Reporter
30 Apr 1971
p. 12.
Hollywood Reporter
13 Dec 1971
pp. 3-4.
Hollywood Reporter
2 Jul 2002
p. 6, 48.
Hollywood Reporter
30 Mar 2007.
---
Life
11 Feb 1972
p. 14.
Los Angeles Herald Examiner
19 Dec 1971
Section F, p. 1, 4.
Los Angeles Times
24 Dec 1971
View, p. 1.
Los Angeles Times
26 Aug 2002
Calendar, p. 1, 4.
MFB
Dec 1971.
---
Motion Picture Herald
Jan 1972.
---
New York Times
19 Oct 1969.
---
New York Times
31 Oct 1971.
---
New York Times
20 Jan 1972
p. 50.
New York Times
20 Feb 1972
Section II, p. 11.
New York Times
5 Mar 1972.
---
New York Times
9 Apr 1972.
---
New York Times
7 May 1972.
---
New York Times
21 May 1972
Section IV, p. 15.
New Yorker
29 Jan 1972
p. 80+.
Newsweek
20 Dec 1971.
---
Saturday Review
18 Dec 1971.
---
The Independent (London)
7 Jul 2002.
---
The New Leader
21 Feb 1972
pp. 22-24.
The Observer (London)
6 Oct 2002.
---
The Observer (London)
3 Aug 2003.
---
The Times (London)
28 Nov 1971.
---
Time
20 Dec 1971
pp. 85-86.
Variety
1 Dec 1971
p. 16.
Variety
26 May 2003.
---
WSJ
19 Jan 1972.
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Daniel Melnick Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Co-3rd asst dir
PRODUCERS
Exec prod
Assoc prod
PHOTOGRAPHY
Dir of photog
Cam op
2d unit cam op
2d unit focus puller
Clapper/loader
Clapper/loader
2d unit clapper/loader
Stills
ART DIRECTORS
Prod des consultant
Prod des
Art dir
FILM EDITORS
Film ed
Film ed
Editorial consultant
Asst ed
Co-asst ed
SET DECORATOR
Set dresser
COSTUMES
MUSIC
SOUND
Sd recordist
Sd ed
Asst sd ed
Co-1st asst ed
VISUAL EFFECTS
Titles des
Spec eff
MAKEUP
Hairdresser
PRODUCTION MISC
Dial dir
Prod supv
Casting
2d unit cont
Unit pub
STAND INS
Stunt coord
SOURCES
LITERARY
Based on the novel The Siege of Trencher's Farm by Gordon M. Williams (London, 1969).
DETAILS
Alternate Titles:
Siege at Trencher's Farm
The Siege of Trencher's Farm
The Square Root of Fear
Release Date:
1972
Premiere Information:
London premiere: week of 20 November 1971
Los Angeles opening: 22 December 1971
Production Date:
late January--late April 1971 in England
Physical Properties:
Sound
Color
Eastman Color
Duration(in mins):
113 or 117-118
MPAA Rating:
R
Countries:
United Kingdom, United States
Language:
English
PCA No:
23078
Passed by NBR:
No
SYNOPSIS

American mathematician David Sumner has moved with his English wife Amy to her small Cornish hometown in order to write a book on astrophysics. Although David hoped that the quiet countryside would inspire him, as well as help him repair his ailing marriage to the vivacious Amy, he is disappointed by the cool reception from the local villagers, and by his daily squabbles with Amy. Amy, in turn, is irritated by the overly intellectual David’s refusal to commit deeply to anything, as well as by his often condescending treatment of her. One day, they visit the village for supplies, including an antique metal “man trap,” designed to catch poachers, which Amy has bought David for his birthday. While David is in the pub, Amy is approached by Charlie Venner, her childhood sweetheart, although she makes it clear that she is no longer interested in him. Inside the pub, David is both repelled and fascinated by Tom Hedden, a rough older man who breaks a glass with his hand when the barman, Harry Ware, refuses to serve him another pint. The hard-drinking, physically tough villagers are bemused by the soft-looking David, who often removes his eyeglasses when talking to them. Amy suggests that Venner join Norman Scutt, another local, in his desultory efforts to repair the ruined garage on their rented property, Trencher’s Farm, and David and Venner agree, with Venner promising to come the next day with his cousin, Bertie Hedden. When they arrive at the farm, David informs Scutt and Chris Cawsey, a rat catcher, of the new arrangement. As they help David unload the man trap, Scutt and ... +


American mathematician David Sumner has moved with his English wife Amy to her small Cornish hometown in order to write a book on astrophysics. Although David hoped that the quiet countryside would inspire him, as well as help him repair his ailing marriage to the vivacious Amy, he is disappointed by the cool reception from the local villagers, and by his daily squabbles with Amy. Amy, in turn, is irritated by the overly intellectual David’s refusal to commit deeply to anything, as well as by his often condescending treatment of her. One day, they visit the village for supplies, including an antique metal “man trap,” designed to catch poachers, which Amy has bought David for his birthday. While David is in the pub, Amy is approached by Charlie Venner, her childhood sweetheart, although she makes it clear that she is no longer interested in him. Inside the pub, David is both repelled and fascinated by Tom Hedden, a rough older man who breaks a glass with his hand when the barman, Harry Ware, refuses to serve him another pint. The hard-drinking, physically tough villagers are bemused by the soft-looking David, who often removes his eyeglasses when talking to them. Amy suggests that Venner join Norman Scutt, another local, in his desultory efforts to repair the ruined garage on their rented property, Trencher’s Farm, and David and Venner agree, with Venner promising to come the next day with his cousin, Bertie Hedden. When they arrive at the farm, David informs Scutt and Chris Cawsey, a rat catcher, of the new arrangement. As they help David unload the man trap, Scutt and Cawsey eagerly question him about the civil unrest and violence in the United States, but David jokes that he saw it only on television. Amy and David’s erratic relationship continues, with David both despising and encouraging Amy’s childlike behavior, and her trying to prompt him to be more sexually open. One day, Amy, bored and lonely, tries to talk with David as he works, but he dismisses her, insisting that while he loves her, he wants her to leave him alone. Later, after an argument in which Amy ridicules David’s handyman skills, she runs upstairs to bathe and momentarily stands half-naked in front of a window, exchanging stares with Venner and the other workmen. Another day, Amy looks for her cat but cannot find it, and David, infuriated by being interrupted again, drives to the pub. There, flirtatious teenager Janice Hedden approaches Henry Niles, a mentally slow villager with a reputation as a child molester, and David watches, aghast, as Niles’s brother John slaps him for talking to the girl. In the pub, David meets the local magistrate, Major John Scott, then returns home to find Amy entertaining Reverend Barney Hood and his wife Louise, who have come to invite them to the church social. David, who dislikes religion, acts like a boor, embarrassing Amy. After the Hoods leave, David is horrified to discover Amy’s cat, strangled and hanging inside their bedroom closet. Although there is no proof, Amy insists that Scutt and Cawsey are guilty, and that they committed the crime to prove that they could get into David’s bedroom. She challenges him to confront the workers, and the next day, David calls them into the house. Intimidated by the earthy men, yet also seeking their approval, David winds up drinking with them. Attempting to goad David into action, Amy brings in a saucer of milk, but David ignores her blatant hint and agrees to go snipe hunting with the men the following morning. Amy storms out, and in the morning, David accompanies the men to the moors, where they leave him to wait while they drive the birds toward him. Venner sneaks back to the house, and although Amy invites him in to ask him about the cat, he begins kissing her. Amy tells Venner no, and as his kisses grow more aggressive, she attempts to resist but he strikes her, then drags her by her hair to the couch. Venner rips open her clothes and continues to threaten her with violence whenever she resists him. As he rapes her, Venner grows more tender until Amy, overcome by emotion, grabs onto him and begs him to hold her. Satiated, the couple lays together until Venner sees a rifle being pointed at him by Scutt. Amy, lying on her stomach, is unaware of Scutt until he grabs her from behind, at which point Venner holds her down while Scutt brutally rapes her. Later, David returns home, furious that he was tricked. Although Amy does not tell him about being raped, she provokes him until they quarrel. In the morning, David fires the four men, and later that day, attends the church social with Amy. Still traumatized, Amy is upset to see the rapists, and the frenzied activity of the party increases her anxiety. Janice seeks David’s attention, but when he ignores her, entices Niles into leaving with her. In a secluded building, Janice encourages Niles to kiss her, but when the church bells ring and the villagers, noticing Janice’s absence, begin to call for her, Niles panics and accidentally strangles Janice to death. Worried about Amy, David escorts her outside, and as they drive home through the dense fog, their car hits Niles. Fearing that Niles is injured, David takes him to their home. When Amy recognizes him, she protests, but David, believing that Niles is harmless, calls the pub in search of the doctor. When Hedden, Venner, Cawsey, Scutt and Phil Riddaway, who are drinking vigorously while waiting for news of Janice, learn that Niles is at Trencher’s Farm, they decide to question him. At the house, they demand that David let them interrogate Niles, but David, sensing that they will kill the incoherent man, asserts that Niles is his responsibility and orders them to leave. Reluctant to inflame the situation, Venner leads the others outside, where the drunken Hedden yells at them for not procuring Niles. As David attempts to calm Amy, telling her that he can handle the situation, a rock smashes through a window. While windows continue to be broken, David locks Niles in the bathroom, and Amy screams at her husband to give Niles up, even if it will result in his death. Outraged, David rebukes her, stating, “This is where I live. This is me. I will not allow violence against this house.” Major Scott arrives and attempts to disperse the villagers, but when he wrestles with Hedden for his shotgun, the firearm discharges, killing the magistrate, and the siege intensifies. While David reinforces the windows, Venner whispers to Amy through the front door, telling her that she will not get hurt if she lets him in. David drags her away before she can open the door, however, and slaps her when she attempts to flee. David then traps Scutt as he opens a broken window, tying his hands against the jagged glass. Cawsey sets some curtains on fire, but as Hedden aims his rifle at David, David throws boiling liquid, scalding both Hedden and Venner. When the men hoist Hedden into another window, feet first, David hits the rifle with a poker and the weapon again discharges, blowing off one of Hedden’s feet. After Riddaway gains entrance, David hits him with the poker until the man is unconscious. David is then confronted by the knife-wielding Cawsey, and after disarming him, David beats Cawsey to death with the poker. Dropping his weapon, the weary, disgusted David looks up to see Venner approaching with the rifle leveled at him. Daring Venner to shoot him, David stares at him until they hear Amy scream. When they rush upstairs, they find Scutt attempting to rape Amy. Although Scutt urges Venner to shoot David and then attack Amy with him, David shoots and kills Scutt. David disarms Venner and the men grapple, falling down the stairs into the living room. There, Amy watches as David kills Venner by catching his head in the jaws of the man trap. Shaking, David looks around and mutters to himself, “Jesus, I got ‘em all.” When he staggers forward, however, Riddaway attacks him. The weakening David begs Amy to get the gun, and as Riddaway beats him, Amy stands frozen before finally pulling the trigger, killing Riddaway. After briefly asking Amy if she is okay, David gets Niles and puts him in the car. As they drive through the night, Niles sadly states that he does not know his way home and David, smiling ruefully, replies, “That’s okay, I don’t either.” +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

CASABLANCA

During World War II, Casablanca, Morocco is a waiting point for throngs of desperate refugees fleeing Nazi-occupied Europe. Exit visas, which are necessary to leave the country, are at ... >>

CITIZEN KANE

Seventy-year-old newspaper tycoon Charles Foster Kane dies in his palatial Florida home, Xanadu, after uttering the single word “Rosebud.” While watching a newsreel summarizing the years during which Kane ... >>

REAR WINDOW

Laid up with a broken leg during the height of summer, renowned New York magazine photographer L. B. “Jeff” Jeffries enters his last week of home confinement, bored and ... >>

RAGING BULL

In 1941, at a boxing match in Cleveland, Ohio, pandemonium breaks out when Jake La Motta, an up-and-coming young boxer, loses a decision to Jimmy Reeves, suffering his first ... >>

CITY LIGHTS

At an outdoor dedication ceremony, a tramp is discovered sleeping in the arms of a statue as it is being unveiled before a crowd. He is chased into ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.