Dogfight (1991): Transcending Misogyny to Make a Very Real Human Connection (Review)

Released to the Criterion Collection this week is Dogfight, Nancy Savoca’s 1991 movie that undoubtedly features one of River Phoenix’s finest performances. In a career that burned fast but brightly, the aptly named Phoenix was cast against type here as a belligerent, foul mouthed jarhead; a role that was arguably the apex of that flame. Phoenix disappears with remarkable ease into this character, before tapping into his more familiar displays of innate, natural fragility and vulnerability as the story develops. For my money, it’s this performance that remains his greatest gift to film lovers.

Dogfight is a seemingly simple, tender and delicate romantic movie that actually has a lot to say about a myriad of themes. Love, youth, gender roles and cultural stereotypes, perceived wisdoms, alienation, and even war and peace, all are tackled here by director Savoca and screenwriter Bob Comfort on sensitive and bittersweet form. The film tells the story of Eddie Birdlace (Phoenix) a marine who is in San Francisco for the night before his company gets shipped to Vietnam. It’ll all be over in a couple of months, Eddie remarks, like many other soldiers before him, and we have to wonder; does he really believe it or does he think saying it may make it true? The hotheaded Eddie is, initially at least, like the rest of his unit and a willing participant in the titular dogfight; a contest where each jarhead must bring the most unattractive girl they can find to a party. Eddie sets his sights on Rose (a brilliant Lili Taylor), a homely waitress and aspiring folk musician. When Rose rumbles the truth about the evening, she is understandably hurt and angry. It is from this turning point that we start to realise that Eddie is more intelligent and considerate than he may initally appear. His conscience pricked by Rose’s reaction to such a display of cruel misogyny, Eddie spends the night walking around the city trying to make amends. Along the way, the pair transcend the true ugliness of the world around them to make a very real, human connection.

Rose manages to see through Eddie’s bluster and her innate kindness and warmth strips him bare, revealing the vulnerable, sensitive boy beneath the thick skin that has been grafted onto his exterior during the rigours of boot camp. In turn, Rose too manages to grow into herself, which is far better than the studio’s original clichéd desire to have her grow, swan like, into a beauty and a success in a coda that would have seen her appear as a talk show host! Thank God that Savoca rightly kicked this ridiculously pappy idea into touch in what was a surprising show of strength from a director on her first studio picture.

Indeed, much of Dogfight‘s success comes from the fact that Savoca lends this coming-of-age portrait a woman’s voice and perspective, and I’m grateful that she was prepared to stand her ground. In doing so, Dogfight neatly avoids much of the crass comedy that the contest would have delivered if the movie were helmed by a man, and delivers a greater understanding of both protagonists, along with a truly empathetic and intuitive commitment to explore and discover their characters. Dogfight is a celebration of the human ability to forge connections and it does this whilst neatly skewering toxic masculinity and the very notion of America itself, at a time when the warring nation found itself vulnerable and self-reflective on the world stage.

The Criterion Blu-ray features a new 2K digital restoration with 2.0 surround DTS-HD Master Audio soundtrack, supervised by Savoca herself. Extras include an audio commentary from Savoca and producer Richard Guay, a new interview with Savoca and Lili Taylor, conducted by filmmaker Mary Harron. Further interviews featuring Bobby Bukowski (cinematographer), Lester Cohen (production designer), Mary Cybulski (script supervisor), Jeff Kimball (music supervisor), Tim Squyres (sound editor) and John Tintori (editor) and a trailer round off the package. The release also comes with a new essay by film critic Christina Newland.

Mark’s Archive – Dogfight