User reviews

Based on the novel Smith's Dream by academic C. K. Stead, Sleeping Dogs is set in a totalitarian New Zealand. Smith moves to the country to escape trouble but is framed by the state as a terrorist.The rest of the film involves his attempts to avoid arrest and his eventual fate.

Released in 1977, the film possessed a poignancy for New Zealanders, who at the time viewed the then Muldoon National Government with some suspicion. A scene involving riot police in an Auckland street was a chilling portent of events during the 1981 Springbok rugby tour to New Zealand, and indeed on its release in the USA, some Americans confused the film's images with media reports of the tour protests.

Notable for Sam Neill's role as Smith, the movie started a late 1970s revival in the New Zealand film industry, including movies such as The Scarecrow, Skin Deep, and Smash Palace.

With Sleeping Dogs, director Roger Donaldson near enough single-handedly cemented New Zealand's place on the cinematic map. It was, at the time, the biggest box-office hit the country had seen, and also boasted what is only the second big-screen appearance by Sam Neill. With Ozplotation in full swing just across the water, Sleeping Dogs kicked off a New Wave in New Zealand, with the likes of Donaldson's Smash Palace and Vincent Ward's Vigil following in the subsequent years. The film is odd and off-kilter, but never less than fascinating. Donaldson clearly looked at Adolf Hitler's own rise to power in post-World War I Germany for inspiration, as he depicts a New Zealand of the near future falling foul of a rising dictatorship who are eager to hunt down anybody they believe could belong to a growing band of freedom fighters. It all starts with television reports of fuel strikes across the country, and quickly spirals out of control from there.

The report is being watched by Smith (Neill) as his children write him goodbye letters and his wife sobs in the kitchen. He is the victim of infidelity, so decides to pack up and live off the grid for a while, but not before his wife's new lover Bullen (Ian Mune) arrives before he has even left the house. He spots an island on the Coromandel peninsula, arranging with the Maori owners to live out there untroubled, even exchanging his expensive car for their rusty old boat. He fishes, listens to the radio, and befriends the locals nearby, but his idyllic existence is soon interrupted when the government goes into full crackdown mode, arresting anybody on suspicion of assisting the revolution. He is taken in by the police to be interrogated and tortured, and likely sentenced to death. Seeing no other alternative, Smith takes his chance and escapes his captors, fleeing to a quiet camping ground where he meets a nice local girl. Smith is no guerilla revolutionary and is quite happy to live in ignorant bliss, but when US Army Colonel Willoughby (Warren Oates) arrives with more on his mind than policing the country, it becomes clear that Smith's destiny lies with the uprising, whether he likes it or not.

Donaldson deliberately holds back certain pieces of information to keep the goings-on away from Smith a mystery, making Sleeping Dogs a rather frustrating experience. But frustrating isn't always bad, and here the loose, drifting storyline gives the film a unique style and atmosphere. You're never quite sure where the story will go next, and when Warren Oates arrives with a smile and willingness to party, there's a disorientating sense of unease as the beads of sweat drip off his quivering moustache. Cinematographer Michael Seresin, who would go on to work on the likes of Midnight Express, Angel Heart and the third Harry Potter, captures the country beautifully, imbuing the scenery with a sense of beauty and peace one minute, and a sense of terror the next. It all sounds a bit George Orwell, but it really isn't. It's actually much stranger than that, and has a rich vein of humour throughout, usually stemming from Smith's frustration as he unwillingly grows into a revolutionary leader. In many ways, it mirrors Gary Bond's experience trapped in the small, violent town of Ted Kotcheff's masterpiece Wake in Fright, only with less booze, more humour, and some bizarre turns along the way.

This film is a chilling view of how New Zealand could be if ruled by a totalitarian oppressive Government, like so many other countries around the world. It focuses primarily on one character named Smith (played by the now famous Sam Neil). The direction is excellect thanks to the talents of Roger Donaldson (Dantes Peak). But if you read those names and expect a big budget, action-packed, thriller your out of luck, it was made back in 1977 when they were starving artists. This may not appeal to those unfamiliar with New Zealand, but its worth a look if you like well scripted well acted emotional movies

As far as I'm aware, Sam Neill's first film - and what a start!

Starring a Kiwi, directed by a Kiwi and packed to the gunwales with Kiwi talent, this is definitely no Hollywood hyperbole extravaganza.Its sole concession to the 'star power' syndrome is the presence of Warren Oates ("Dillinger") as an armed subversive type (I didn't dare to use the dreaded 'T' word!).

The film is under the very capable guidance of the now-also-well-known Roger Donaldson, who was also responsible for another powerful home-grown effort, "Smash Palace". Impressionable youngsters like Peter Jackson may have seen this and decided their futures.

Like Jackson's LOTR trilogy, "Sleeping Dogs" is filmed on location in New Zealand. As such, the sets and scenery give a fair idea of life in provincial and metropolitan NZ in the mid-70's (but there's no stunning vistas of the majestic Southern Alps here, I'm afraid).

"Sleeping Dogs" is an adaptation of a story by New Zealand author C.K.Stead and pits an increasingly autocratic government of the near-future against a group of resistance fighters. Smith (Neill), very recently separated from a cheating wife, pretty much accidentally and quite reluctantly, gets involved with this group.

One scene in the movie was (and still is) something of a talking point here in NZ because it seemed, in hindsight, so chillingly prescient - life imitating art.

In the scene, a large group of protesters have clashed violently with unyielding, merciless, baton-wielding riot police; blood is flowing, injures are rife.

Some five years after the film had been released, in 1981, the then-internationally-banned Springbok rugby team from South Africa were allowed to tour here, despite clamorous local and global opposition.

New Zealand experienced the horrors and scarring of civil division. Wherever the Springboks played and also in the capital, Wellington, violence erupted. And it seemed to many of us at the time that the scenes that Donaldson had shot many years ago were now being replayed almost nightly on the news. Spooky.

Apparently, this was Sam Neill's second outing. I have no idea what was his first, but this one grabs you and doesn't let go. The fact that it was Roger Donaldson's debut probably helps. At the time, Australian cinema was in a golden age. The poor cousins over the Tasman decided to emulate them. Like Australia, the only way the Yarts could destroy the government was with government funding. This dystopic story of the fascist Muldoon government was largely funded by Robert 'Piggy' Muldoon!

I recall being confused the first time I saw this film, not long after it was first released, probably due to being young and naive at the time. Having revisited the film 30 years later I find that I have been able to follow the subtleties of the plot more easily.

The movie is a commentary on life's challenges and how one young man - Smith (Sam Neill) - responds to some of these challenges.

I like this movie now because not only does it show something of New Zealand's past and the possibilities the film-makers foresaw (some of which later came to pass as part of NZ history) but because it is an early vehicle for several New Zealand film-maker's craft.

A history-making New Zealand production (it was the first to obtain general release in the U.S.), "Sleeping Dogs" is a good, engaging story, based on a novel by Christian K. Stead. It takes place during a tumultuous time in NZ's history, when people were actively rebelling against the government. Sam Neill, in his starring debut, plays Smith, an apolitical man estranged from his family, who does NOT want to get involved. He'd rather live in seclusion on an off-shore island, but people and circumstances keep drawing him into the fray.

Neill is typically solid as a rock, and you can understand his characters' frustration. He's surrounded by good Kiwi actors, including Ian Mune (who also co-wrote the screenplay) as the passionate Bullen, Nevan Rowe as Smiths' activist wife Gloria, Ian Watkin (you may remember him as Uncle Les in Peter Jacksons' "Braindead") as helpful bar owner Dudley, and Clyde Scott as government man Jesperson. Jesperson wants Smith to confess to being a revolutionary in exchange for better treatment, but Smith will have none of that.

Of course, part of the hook of the story is watching Smith resist the inevitable, and wondering if or when he will give in.

Gorgeous NZ scenery, an effective music score, and some good action scenes add to the overall entertainment value. Naturally, many American viewers may be drawn to this upon seeing that the iconic Warren Oates has a "guest star" role. It's a reasonably interesting role that benefits from his unique presence.

This also announced the arrival of filmmaker Roger Donaldson in a big way. In the 80s, he moved to Hollywood when he turned out features like "The Bounty", "No Way Out", "Species", and "Dante's Peak". (His peer Geoff Murphy is credited with special FX; Murphy himself has directed such movies as "Utu", "The Quiet Earth", "Young Guns II", and "Under Siege 2: Dark Territory".)

Overall, a compelling tale well told, that keeps the viewer attentive until its final scenes.

Eight out of 10.

I remember trying to see this film when I was 12 or 13 but the friend who bought the tickets ending up buying tickets for The Magic Roundabout and the Blue Cat. What a disappointment at the time.

Seeing it for the first time subsequently, the optimum word is prescient. Donaldson showed scenes that were fresh and on a scale never scene in NZ cinema before. Skyhawks dropping bombs on the terrorists (Mune and Neill). "Spooky" is the word most used by those who have commented in this forum.

Having met Carl Stead last year in London, I was impressed by his philosophy regarding the films success in NZ at the time. Comprimises were made to the author's chagrin but in the end the story fulfilled its cinematic requirements. Donaldson along with Geoff Murphy were pioneers of a new revolution in film-making for New Zealand.

The first NZ film I had seen that opened up the dark under belly of an immature and isolated nation in troubled times.

The movie is dated now but the impact in context of the time it was made is undeniable.

In one of the most acclaimed films coming from New Zealand, Sam Neill plays Smith, a simple man turned into a dangerous one after being confused as a rebel from a resistance group that fights against the new government. Now he has the run from the police and the army to save his life and the only ones who can help him are the same members of the resistance that caused him trouble, including Bullen (Ian Mune), who had an affair with Smith's wife.

There's a few gaps in the narrative, some things are half explained and others don't get any explanation at all, also a lack of idealism or reasons to explain why there's a conflict between the rebels and the government, and all that made the film less appealing, and very confusing. Both sides of the political tensions are presented equally distant from us, so we can't decide which one is right and which one is wrong; our empathy must stay at all time with Neill's character, who is an enigma to us, we don't know what was his occupation before his life gets shattered, and he got framed as terrorist because someone planted guns in his boat. But the story tells us this guy's very smart, he knows combative techniques, some tricks under the sleeve (his escape from the police car by forcing a vomit was incredible).

In his first film director Roger Donaldson makes a very good thriller, effectively tense, and with good moments and great performances (includes a special appearance from Warren Oates as an American military who is following the rebels). A higher focus on the political aspects and placing the characters motivations more on the surface would make this film perfect. 9/10

I was slightly confused by the content of this movie. From what I gathered, Sam Neill's character was a family man whose wife had an affair, and he was then mistaken for a guerrilla. There was plenty of guerrilla warfare on the streets who were trying to protest something. I couldn't quite gather what it was. There were plenty of shoot-em-up scenes on the streets and in the wilderness when Neil was trying to escape and clear his name. Other than that, I thought the movie was decent. The scene where he was imprisoned in a dank jail cell was harrowing and unforgettable, and I loved the part where he vomits on the guards to escape from the transport car. I sort of liked the movie and might recommend it.

** 1/2 out of ****

Today I finally got a DVD of "Sleeping Dogs" and got to watch it in a wide-screen version for the first time.

As a big fan of Warren Oates, I was first interested in this film because of his character.

His film "Dillinger" is frequently mentioned, and I also recall his excellent work in "Bring Me the Head of Alfredo Garcia", "Black Thunder" and "Badlands".

In "Sleeping Dogs", it's impossible to ignore Sam Neill as he struggles to survive forces outside his control.

I don't know if it's his first film or not, however it's the first one I recall ever seeing him.

Coincidentally, I'm also watching the new DVD release of "Max Headroom", and it's hard to keep the two films from intermixing.

Repressive governments, random violence, all the things that make films like both of these fun to watch again and again.

In this genre, I would also add "Brazil".

"1984" goes without saying.

The story of Sleeping Dogs carries a sense of tragic inevitability, where fate feels impossible to resist. The more one tries to stay away from politics, the deeper they are dragged into the heart of the struggle. The more they strive to do the right thing, the worse their situation becomes. The tragedy of Smith lies in how an ordinary man watches helplessly as his peaceful life is shattered and one by one, the people he cares about fall victim to political terror.

This movie brilliantly captures the fundamental characteristic of political terror: no one is spared.

Filmed in New Zealand, the movie showcases stunning landscapes paired with perfectly complementary music. The stark contrast between the film's aesthetic tone and its theme of political terror makes the viewing experience all the more poignant. It is a masterpiece worthy of thoughtful appreciation.

Sam Neill stars, in his 2nd feature film, as Smith, a man who leaves his family when his wife takes up with another man, and moves to an island where he is the only resident. While he's on the island, political turmoil in New Zealand worsens and a form of martial law is declared. Smith is framed as a terrorist and arrested. Facing certain execution, he escapes and goes on the run, eventually hooking up with Bullen (Ian Mune), the man who had stolen his wife. This is the first feature made in New Zealand that received international distribution, and it's readily apparent why. Neill is a magnetic screen presence, and the film has the ramshackle appeal of the best small action films of the 70's. Warren Oates even appears in a small role as a US army officer.