It is a pure joy when a film like DOG BITES MAN finds its way to me. Creative and intelligent with story and telling themes which are then punctuated with unfettered production values that provide breathing room for outstanding performances and rapier dialogue to shine, DOG BITES MAN is a “must see” film. A seriocomic thriller that provides thoughtful commentary on our current society as it dissects the war of “us versus them” that has permeated our culture over the past decade, breaking down all of the “isms” that have arisen from fear, hatred, and politics.
Written by Frederick Kirwin as adapted from his novel of the same name and directed by Vincent Zambrano, DOG BITES MAN is the story of Evo and Darm, a painter and a poet beautifully played by Cade Morrison and Andrew Rogers, respectively, who are “trapped” in a rural mountain farmhouse when it appears their neighbors and the town locals have declared war on them. Why even a local German Shepherd seems to be in on the war.
After being “attacked” by the killer dog, Evo and Darm are too afraid to leave the house, their own fears heightened while discussing the “red” demeanor of the locals they met earlier in the day, when a rock flies through their window just missing Darm’s head. When they steel up and step outside to investigate, not only do they find all four tires on their car flattened, but the German Shepherd is outside ready to attack once again. Inside the cabin, they find the phone is dead. And as the evening progresses, Evo is certain he smells smoke. Are they being burned out?
As the two try to remain calm inside the house, their minds run rampant with every imaginable doomsday scenario possible. Convinced that war is unfolding against them, as the night progresses, Evo and Darm begin to believe that maybe it’s not just a war against them, but a civil war in the United States.
As different as night and day, Darm is clearly the more rational and calm one in this partnership (or he just hides his fear better) while Evo panics with every sound, every thought, every word. Trying to occupy their minds, the conversation quickly focuses on the “us versus them” binaries such as gay versus straight, educated versus uneducated, appreciative of the arts versus those unaware of the arts, and on and on. But those thoughts soon turn to fear and violence, putting a mirror to moviegoers as to what is happening every day in the United States. Evo and Darm wonder if this is the new “normal”? Should they fight back?
Trying to stay on a relatively even keel, Evo paints, Darm writes poetry and plays the piano with the same tune over and over as if hypnotic in its signature. They debate, they each play as a wordsmith trying to one-up the other with wit and sarcasm, and, of course, they argue the merits of strawberry fudge ripple ice cream versus chocolate almond frozen yogurt. (Man does not live by debate and snark alone!) No subject is off limits with fear being the operative tone permeating their sarcasm.
Tension and fear escalate as power goes out (was their power cut or is it just a glitch in the mountain electrical grid or is World War III upon them), they hear knocks at the door and see the “killer dog” whenever they look out the window. Will they survive the night? Will they survive the war? Evo and Darm force us to peer into the looking glass and ask ourselves the question, “Is this me? Is this us?”
From a production standpoint, DOG BITES MAN is smartly designed. Set in one location within the confines of one night, director Zambrano and cinematographer Brian Timmons utilize every space of the cabin to its best advantage. Lighting is well done by Timmons working with practical table and floor lamps that cast a warm glow bouncing off the woodwork in the cabin leading to an unpanicked respite from the boys’ fears. A lovely insular contrast. A basic two-hander, blocking is key, with both actors in frame together for the bulk of the film, delivering a metaphoric mid-shot versus close-ups that would drive a visual wedge between Evo and Darm who are facing the “them” together. Very smart visuals. Also smartly done is the fact that we don’t see the locals who have upset and frightened Evo and Darm. We rely on our senses to hear sounds outside, see the rock come through the window, and feel the dead darkness when the power goes out. All of this becomes the “negative space” which is normally found in a horror film giving rise to unseen fears. Wonderful construct.
Notable is also the set dress within the cabin which celebrates everything that Evo and Darm talk about – books, art, music, comfortable yet fashionable furnishings – tacitly speaking to William Congreve’s noted quote, “music has charms to soothe a savage breast, to soften rocks, or bend a knotted oak.” Another terrific metaphor for much of what we have witnessed with the political upheaval of late, most notably the January 6 insurrection. There is great warmth and intimacy with the wood flooring and wood and stone walls.
Obviously a deliberate decision on the part of Zambrano and/or Kirwin, there are no cell phones, smartphones, or laptops. While some may find that strange in this day and age, I think this was a smart move. You have two people who want to get away from the city and all of its encumbrances; not to mention the fact that quite often there is no kind of cell service or wifi available in rural mountain areas. I can easily see electronics being left at home. Plus, it also provides a more timeless element to the film.
To break down every allegorical note within DOG BITES MAN would not only take pages and pages but would cause moviegoers to miss out on the beauty and joy of seeing and hearing the film unfold for themselves.
Kirwin’s script is delicious. The banter is rapier. Smart, witty, telling, thoughtful. Kirwin leaves no stone unturned in this allegory. (Side note: This would make a perfect stage play.) But then those words get put into the hands of Rogers and Morrison and we are given the tastiest treat of the film. Not only are they given the physical space in which to play, but they feed off one another with cadence, tone, enunciation, and body language. They have an ease that is comfortable, and resonant, telling us they have long been a couple without wasting exposition. Morrison is particularly effective when he gives a “Niles Crane” kind of propriety to Evo. Watching these two is a pure joy. We feel their fear as well as their false bravado. Already well familiar with Rogers’ prior work, Morrison is new to me as an actor. You can be certain he will now be on my radar and both gentlemen should be on yours, too. Not to be overlooked is Lux who makes his screen debut portraying Blondie the “killer” German Shepherd.
Everything comes together with pacing thanks to Brian Timmons who not only serves as cinematographer but editor as well. Given the crispness and ease of the lensing, which is mirrored in the pacing of the edit, I have to believe that Timmons was plotting out edit cuts while filming. The end result is tight and taut, and we feel not only growing tension but the ease and release that comes with the comedic verbal sparring between Evo and Darm.
As morning dawns the next day, what will Evo and Darm do? Will they venture out? Will they fight back against their tormentors and the terror they have felt at their hands? Or will they turn the other cheek and look away? What would you do?
Directed by Vincent Zambrano
Written by Frederick Kirwin
Cast: Andrew Rogers, Cade Morrison, and Lux
by debbie elias, May 1, 2024
