When I first started watching the excellent British series Misfits (somewhat scarily, about a decade ago), I was completely impressed with their lineup of talented young stars (all playing delinquents forced to do community service – who also happen to have superpowers). I expected many of them to go somewhere, and I have not been disappointed – Joseph Gilgun is arguably the most entertaining part of the American show Preacher (as Cassidy); Iwan Rheon scared millions of viewers as the vile Ramsay Bolton on Game of Thrones; Antonia Thomas is a main player on the hit series The Good Doctor (as Dr. Claire Browne); while my favourite character on the series was brought to vivid life by Robert Sheehan (who played the hilarious Nathan).
A man of many dimensions, I then followed him to the Irish series Love/Hate, a role that showed his range as a very serious young man working in the Dublin underground crime scene. Also, over the years, he has had some promising roles in films such as The Mortal Instruments: City of Bones, The Messenger, Geostorm, Mute, Mortal Engines, and, currently has found his groove in North America on the acclaimed Netflix series The Umbrella Academy.
I was fortunate enough to have interviewed the Irish actor this past summer. More than friendly, we chatted for awhile before turning to his favourite film. Sighting the talents of Italian writer/director Matteo Garrone (perhaps best known for the iconic 2008 crime drama Gomorrah), Sheehan pointed to his much more recent 2018 feature Dogman – calling it the most profound, emotionally beautiful picture on Italian society. . . later saying that it is the best film that he has seen in a very long time (referencing its most powerful visuals, acting, and narrative).
You might be wondering what exactly the title Dogman means. Though it might sound like some sort of warped superhero persona, it is actually the name of a business that also arguably is the best describer for main character Marcello (Marcello Fonte), who by day, grooms and cares for a wide range of dogs, and by night, is a low level cocaine dealer.
Living in a coastal Italian town that is not what we would expect to see when we hear of the historic country, this is a dilapidated, downtrodden area. Storefronts look shoddy, the people seem tired, and the homes look cold and uncomfortable. It is in this inhospitable environment that Marcello tries to do his best.
Enjoying his job with dogs, it seems to be quite suited for the man, as he is a small, socially awkward individual who lacks bite – walked over by his so-called friends and neighbours. He is a fragile, slightly depressed man just looking to escape his societal position (and find some sort of respect from his compatriots along the way). That is why when he is off the job, much of his time goes towards planning exotic scuba-diving trips to go on with his ten year old daughter (Alida Baldari Calabria).
Yet, in order to fund his life (and trips with his daughter), he sells cocaine to some local low-lifes. . . most notably, Simoncino (Edoardo Pesce), a behemoth of a man whose wild, giant-like personality fits his body type. A so-called friend of Marcello’s, the addict (and former boxer) has a dangerously violent temper, huge love for cocaine (often not paying his bills), and is prone to pull off sloppy robbery jobs whenever he needs some cash to fuel his loser lifestyle. As we further watch these two interact, it is quite evident that Simoncino is a bully, using Marcello at every turn to get his fix (be it drugs, an accomplice for a robbery, or some other sketchy thing).
Though this is the general basis for the story, where the cinematic magic comes from is the way Garrone tells this simple man’s unorthodox tale. Based upon one of the most infamous real life post-war crime stories to come out of Italy, Garrone unfolds the complex narrative of human interaction in a slow, almost unnerving way. Whereas most films have an average shot length of somewhere between four to six seconds, the director allows his camera to linger on his subjects for quite some time – often for around some twenty seconds. Focussing on emotions and interactions more closely than a film that is edited at a normal pace, tension, anguish, pain, loneliness and horror endure, each added moment expounding upon the morose, unforgiving culture in this crumbling coastal town. As we move towards what many will look back upon as the inevitable conclusion, it is hopefully a warning and a lesson for its viewers.
With a fascinating character arc and mesmerizing visual style, Dogman is a dark tale of humanity, in all of its many facets. Featuring stunning performances (what a scintillating ride for Fonte), strikingly long takes, and a wide range of emotions, this morality tale is sure to impress and ensnare (though its stark, dark view of human nature may scare some as well). So, don’t let this film be ignored, explore the fiery recesses of the fractured human spirit.
This film is in Italian with English subtitles