Doghouse is a British slapstick / splatter movie. The danger of mixing genres like that is that sometimes neither one will work, and this is a good example of just that. A bunch of young men head off for a weekend to cheer up one of their friends who has just been divorced. The film introduces them one by one with a placard showing their name (hoping vainly that we will thereafter remember them). They are all being verbally abused by their partners for leaving them, a condition sometimes known as being “in the doghouse”. They diagnose their situation as suffering from what they call “social gender anxiety” and plan to do male things like, you know, drink and smoke a piss on trees. They think they are recapturing their animal essences, whereas in fact they are just being dicks.
They head for a little town where, they have heard, the women outnumber the men four to one. Their minibus driver tells them that it is the middle of nowhere, and hey, there are worse things than divorce.
They are expecting
“an entire village of man-hungry women, waiting to jump the first band of desperadoes rolling up from London.”
Turns out that’s exactly what they get (yes, such subtle irony) because the women have all been infected with a virus in a biological warfare trial intended to turn one half of an enemy population against the other, and isn’t that a decent summary of human history? This virus turns them into what these guys call
“an army of pissed-off man-hating feminist cannibals”
Each woman is a caricature of her womanly role – a bride, a hairdresser, a grandma, etc.
While this is a remarkably silly film, it does illustrate quite nicely the themes of abjection and the monstrous feminine. Monsters are by definition outsiders, but more so when their appearance and violent activities are in a female form, because we are reminded of the archaic mother – the authority figure of early childhood who toilet trained us, dominated us, exemplified adult sexuality and offered us both nurturing and the threat of Oedipal competition with the father and ultimately castration or reabsorption. Just so, the women of the town represent female roles: the crone (one of the men’s gran), the bride (in virginal white), the hairdresser, the barmaid, the traffic warden. Freud might have enjoyed this film – the women carry castrating weapons – knives, scissors, axes, teeth, a dental drill. Even stilettos. One woman represents voracious appetite and therefore body dysmorphia (obesity) – she has an electric carving knife and kneels in front of her victim in a recreation of every fellatio-gone-wrong castration nightmare, cutting off his, well, his finger. But you know, symbolism.
In case the symbolism is still not clear, the local shop, with a mummified penis in the display case, is called
The men plan a violent exit, declaring “Today is not the day to stop objectifying women”. This gives the film an excuse to answer the women’s cannibalistic violence against the men with some very nasty misogynistic attacks by the surviving men, the ones who were the most obdurate male chauvinists, using ‘male’ weapons like fire and vehicles and sporting equipment, resulting in women being variously burnt, having their teeth knocked out, beheaded and beaten to death with golf clubs. At the climax, one of the surviving men growls “give me a wood” – yeah, you get the picture. There would be a certain section of the audience cheering those scenes, I suspect.
“misogyny and creative bankruptcy in Jake West’s Brit gender-wars comedy horror about a bunch of hen-pecked blokes stuck in a village of cannibalistic women”
If I still haven’t dissuaded you, the full movie can be watched (when I last checked) on YouTube.