As far as savvy sex-working women go, the character driving the bulk of The Big Dog‘s emotional and psychological torture isn’t the most traditional. Pretty Woman this isn’t, with the financial dominatrix side of sexual services being explored here (Findom, for those in the know) in Dane McCusker‘s intriguing black dramedy that delights in the misery of its assembled company.
From the very beginning of McCusker’s film it’s evident that Richard (Julian Garner, appropriately smarmy and pathetic) isn’t the type of character we particularly want to root for. As we see him submit to the degrading verbal commands of “Princess Paige” (Asha Boswarva) – she being the aforementioned financial dominatrix, who he has given control of his bank accounts to – his need to feel less-than seems to stem from an existence where, in all other aspects of his life, he feels as if he’s, well, “the big dog”.
Taking his wife, Kelly, for granted (Felicity Price turning in a fine performance), thinking nothing as to how he verbally demeans his colleagues over the phone, and rather dismissive of his son’s evident depression, Richard has little in the way of redeemable qualities. So it’s to McCusker’s credit as a writer and director that we manage the smallest amount of care towards Richard when he realises that Paige has siphoned all the money from his bank accounts.
Of course, Paige enjoying her role as Richard’s dominatrix means when she hears him tell her to spend away, she takes that as permission to do so with wild abandon; we learn that, despite it being his money, he has to ask for the passwords for the accounts and earn his own money through further belittling acts. But Richard, perhaps being naïve to the reality as to what his relationship with Paige truly embodies, never thought she would truly spend it all, and the near-$80 thousand he had put aside as a car fund for his son, Sam (Michael Monk), was off-limits. Always read the fine print, Dick.
In realising what they’ve both done – Richard unable to bullshit his way out of current financial ruin, Paige concerned with how this’ll truly affect Kelly – The Big Dog eventually spirals towards an uncomfortable intervention. Whilst the comedic potential is there – Richard, Kelly, Paige and Sam sit down for a meal together amongst their individual revelations – the film ultimately adopts a more sombre, depressing temperament, which, in all fairness, feels more in tune with the emotionality of what each character is feeling.
Given that The Big Dog is such a contained film in terms of its casting and locations, the majority of its success boils down to its performances, and, for the most part, it flourishes. Garner draws us in with his sweaty unlikability, and Boswara balances her character’s moral ambiguity with a certain relatability. Had we been afforded the chance to know of Paige beyond the monetary drive, The Big Dog could’ve further elevated its fascinating narrative. It’s the characters of Kelly and Sam, however, that stand at opposite points of success for the film overall.
Kelly, who is initially painted as somewhat one-dimensional as the put-upon wife, comes into her own as the story furthers, with her initial panic and pain over believing Richard’s discomfort drives from a gambling addiction melding to an emotional turmoil that devastates her as much as it strengthens her to finally own her voice against him. Offsetting this is Sam, whose school graduation and the lack of family (or friend) interest in attending speaks to a larger issue regarding his demeanour – something that may have been left unsaid and more successful as an ambiguous ingredient. Instead, Sam’s incel-like attitude towards women is far too on the nose and over-emphasises the toxic masculinity that the film perfectly encapsulated within Richard.
Packaged around a dynamic that’s probably more common than we believe, the conversations that the film brings forward are perhaps meatier than the entire execution, but however uncomfortable we may find The Big Dog‘s dealings, it can’t be denied how impactful McCusker’s film is overall.
THREE AND A HALF STARS (OUT OF FIVE)
The Big Dog is screening in select Australian theatres from November 9th, 2023. For the full list of participating venues, head to the official 2C Pictures website.
