One of the most compelling aspects of the Saw film series is its rich cast of characters, spanning from those we admire to those we love to despise. While John Kramer, famously known as Jigsaw (Tobin Bell), often takes center stage, the franchise boasts a collection of memorable figures, including his apprentices Amanda Young (Shawnee Smith), Detective Mark Hoffman (Costas Mandylor), and the enigmatic Dr. Lawrence Gordon (Cary Elwes).
Amidst this landscape often dominated by antagonists, Special Agent Peter Strahm (Scott Patterson) emerges as a protagonist who garnered significant fan appreciation, particularly for his role in Saw IV and Saw V. Although these installments are sometimes considered less impactful within the franchise, Strahm’s character brings a compelling dynamic. For fans of Scott Patterson from his beloved role as Luke Danes in Gilmore Girls, his portrayal of Strahm offers a starkly different, yet equally captivating performance, deserving of closer examination.
Saw IV: Introduction of a Hardened Detective
Our introduction to Peter Strahm occurs at the outset of Saw IV, amidst the grim scene of a Jigsaw crime, alongside his partner Special Agent Lindsey Perez (Athena Karkanis). They are summoned following the death of Detective Allison Kerry (Dina Meyer) in a Jigsaw trap, tasked with collaborating with Detective Hoffman on the case. Strahm’s initial dialogue, uttering Jigsaw’s chilling clue, “open the door and you will find me,” immediately sets the tone. This cryptic message becomes a pivotal element for both Strahm and Officer Daniel Rigg (Lyriq Bent), culminating in the film’s climax; Rigg’s pursuit leads him to a door revealing Hoffman’s complicity, while Strahm’s path unveils the deceased John Kramer.
From his first scene, Strahm is depicted as a quintessential, no-nonsense detective, characterized by his stoicism and sharp intellect. He quickly discerns that Amanda, then believed to be the sole accomplice, lacked the physical capability to construct Kerry’s intricate trap, as did Kramer himself. This early display of Strahm’s deductive prowess highlights his competence and establishes him as a formidable investigator. The irony of this scene intensifies in retrospect, as Strahm unknowingly theorizes about the killer in the presence of Hoffman, the actual accomplice. The subtle tension between them is palpable, amplified by Strahm’s pointed remark to Hoffman, “we’re here to find the person your department couldn’t, Detective.” This line, laden with foreshadowing, not only underscores Strahm’s confidence but also ignites a rivalry that propels the narrative of both Saw IV and its successor.
Special Agents Strahm and Perez investigate their first Jigsaw crime scene in Saw IV, showcasing Strahm’s focused demeanor.
Providing crucial context, Perez informs Strahm of Kerry’s dying message, hinting at potential danger for two police officers. Perez advocates for alerting Hoffman, but Strahm, asserting his authority, dismisses the need to “cause a panic,” underscoring his independent approach. While their partnership in Saw IV is effective, Strahm’s dominance in their dynamic is evident. His reluctance to confide in Hoffman further emphasizes the existing friction between them, setting the stage for future conflicts.
The narrative of Saw IV centers on Rigg’s trials, yet Strahm’s investigation runs parallel, relentlessly pursuing the killer’s trail. Upon discovering incriminating photographs of Hoffman in Rigg’s apartment, Strahm swiftly recognizes the imminent danger to his colleague and demands Rigg’s location. This action, while reinforcing his headstrong nature, reveals a deep-seated loyalty; despite his preference for operating independently, Strahm prioritizes the safety of his fellow officers when lives are at stake. The discovery of Detective Eric Matthews’ (Donnie Wahlberg) photos in Rigg’s apartment prompts another of Strahm’s astute deductions—Matthews, missing since Saw II, is still alive, held captive by Amanda. Strahm’s comprehensive understanding of Jigsaw’s methods and his accomplices positions him as the most capable investigator on the case.
However, Strahm’s investigation takes a detour when he encounters photos of Jigsaw’s former wife, Jill Tuck (Betsy Russell), leading him to suspect her involvement as the accomplice. This red herring leads to Strahm bringing Jill in for interrogation, initiating a good cop/bad cop dynamic between him and Perez. The contrast in their approaches—Strahm’s detached objectivity versus Perez’s empathy—highlights their complementary skills. While Strahm maintains a clinical perspective, Perez exhibits emotional engagement, particularly when a forensic scientist is killed by a booby-trapped crossbow at a crime scene. Perez is visibly affected, while Strahm remains composed, pressing forward to locate Jigsaw’s new lair.
During Jill’s recounting of John Kramer’s transformation into Jigsaw, triggered by the tragic loss of their unborn child, Strahm displays a stark lack of empathy, dismissing her narrative as an unconvincing motive. (An intriguing detail emerges here: the flashback to Jigsaw’s origins concludes with Kramer revealing a glass box lined with shards, a direct foreshadowing of Strahm’s final test in Saw V). Strahm’s interrogation tactics become increasingly aggressive, escalating when Perez is critically injured by a shrapnel bomb. His demeanor shifts from assertive to overtly hostile, culminating in a moment where he corners Jill against a wall, his voice raised in fury.
Special Agent Strahm intensely interrogates Jill Tuck, reflecting his focused and sometimes aggressive investigative style.
“You see this? This is my partner’s blood. She’s fighting for her life right now because of your lunatic husband!”
This outburst underscores Strahm’s profound concern for Perez, contrasting with his seemingly detached attitude towards Jigsaw’s other victims. It highlights his fierce loyalty to those he cares about, suggesting a personality where emotional expression is channeled through intense anger or suppression. A rare glimpse of vulnerability appears as he tenderly holds Perez’s hand as she is stretchered away, quickly followed by a scene of him violently ransacking his office in distress, before refocusing on the case evidence.
Deciphering the clue “four walls build a home,” Strahm pinpoints Jigsaw’s lair. In a classic Saw twist, upon entering, he stumbles upon the aftermath of Saw III—the bodies of Lynn Denlon (Bahar Soomekh), Amanda, and Jigsaw. Jeff Denlon (Angus MacFadyen), Lynn’s distraught husband, confronts Strahm with a gun, leading Strahm to fatally shoot him in self-defense. This event effectively closes the chapter on the intertwined narratives of Saw III and IV.
Strahm confronts the shocking scene of Jigsaw’s lair, weapon drawn and ready for the unexpected.
Simultaneously, the film unveils Hoffman as the true accomplice. He returns to the lair, trapping Strahm in the room, uttering the franchise’s iconic “game over” line, leaving Strahm’s fate hanging in the balance.
Saw V: Survival and Suspicion
…But the game is far from over. Saw V, true to the series’ form, opens with a gruesome trap, and immediately picks up where Saw IV concludes. Strahm, defying expectations, discovers a hidden door. Upon forcing it open, he finds a tape.
In his characteristically analytical tone, Jigsaw’s voice on the tape describes Strahm’s “insatiable hunger to uncover the truth” as a trait that could “push [him] deeper into the abyss”—a foreshadowing of the trials to come. The tape cautions Strahm against proceeding through the doorway. In a moment of defiance, Strahm responds with a resolute “f*ck you” and enters, only to be ambushed by a figure in a pig mask—Hoffman. This sets the stage for one of the most visceral traps in the Saw saga.
Strahm awakens, his head encased in a glass box with a rusting metal frame, marking the commencement of his personal game. The box begins to fill with water, submerging his head completely. What elevates this scene is the authenticity of Scott Patterson’s performance; for the close-up shots, he genuinely endured having his head underwater. In a display of remarkable ingenuity and resilience, Strahm extracts a pen from his pocket, empties it, and performs an emergency tracheotomy, stabbing it into his throat to breathe. This act is arguably one of the most audacious and memorable moments in the entire franchise. Hoffman, having left no tape inside the box, clearly intended for Strahm to perish, certainly not anticipating such a breathtaking (pun intended) act of survival. Hoffman’s stunned reaction upon seeing Strahm alive further intensifies their rivalry, now with the audience fully aware of Hoffman’s villainous role.
Peter Strahm’s desperate fight for survival in the iconic water box trap, showcasing his resourcefulness.
In a frustrating turn of events, Hoffman receives a promotion to Detective Lieutenant for his supposed heroism in saving Jeff and Lynn Denlon’s daughter, Corbett Denlon (Niamh Wilson), and for “closing” the Jigsaw case. Conversely, Strahm is removed from the case and placed on medical leave by Agent Dan Erickson (Mark Rolston). Adding to Strahm’s setbacks, he learns of Perez’s death in the hospital. Strahm, having lost his partner and been sidelined, finds himself in a significantly weakened position compared to the start of Saw IV. We see him grieving by Perez’s hospital bed, haunted by flashbacks of her attack, desperately replaying events in his mind, seeking a way he could have altered her fate. While Perez’s death is a contentious example of a plot device to motivate the male protagonist, it undeniably amplifies sympathy for Strahm and fuels his determination.
Adding insult to injury, Hoffman enters. Strahm, his voice hoarse from the tracheotomy, informs Hoffman that Perez’s dying words were “Detective Hoffman.” They exchange accounts of their survival, with Strahm pointedly mentioning his survival “on a gurney with a f*cking hole in my throat,” contrasting Hoffman’s superficial injuries. Strahm’s suspicion is palpable as he states, “Jigsaw doesn’t make mistakes,” highlighting the improbable survival of Hoffman alone amidst the deaths of his entire department. Strahm meticulously builds a compelling, albeit unspoken, case against Hoffman, making little effort to conceal his distrust. His ability to analyze evidence and formulate accurate theories, barring the Jill Tuck misdirection in Saw IV, remains sharp.
However, Saw V marks a slight shift in Strahm’s portrayal. While in Saw IV he was portrayed as exceptionally quick-witted and decisive, in Saw V, as some critics noted, he spends much of his time piecing together events from Saw III and IV. His investigative pace feels somewhat diminished, especially as the audience is already privy to much of the information he uncovers. The film introduces flashbacks of Hoffman’s backstory, which are often considered less engaging than Strahm’s storyline. It’s worth noting that Strahm’s investigation in Saw V is conducted in isolation, without official authorization, adding to the challenges he faces.
Undeterred, Strahm uses his precinct access pass to secretly review case files. He uncovers the murder of Hoffman’s sister by her boyfriend, who became the victim in the film’s opening trap. Hoffman, it is revealed, orchestrated this as a Jigsaw copycat crime to avenge his sister’s death. Kramer, perceptive as ever, recognized Hoffman’s actions and subsequently recruited him as an accomplice. Strahm gradually unravels this narrative, the film visually emphasizing his deductive process through numerous shots of him intently studying files. In a tense moment, he encounters Erickson at the precinct, feigning a casual visit to collect belongings before taking medical leave, a transparent lie that Erickson seems to see through.
Strahm meticulously reviews police files, piecing together the intricate puzzle of Hoffman’s involvement.
Strahm embarks on a self-guided tour of past Jigsaw crime scenes, attempting to immerse himself in the killer’s mindset. These scenes are interwoven with flashbacks of Hoffman’s apprenticeship under Jigsaw, drawing visual and thematic parallels between Strahm and Hoffman. They are presented as opposing forces, detectives on divergent paths—one committed to justice, the other to manipulation and deceit.
His personal investigation leads him to realize Hoffman’s intention to ensure everyone perished in the games of Saw III and IV, positioning himself as the hero. This realization ignites Strahm’s fury, culminating in a scene where he violently overturns a bed in frustration. Driven by righteous anger, Strahm makes a fatal misstep by attempting to apprehend Hoffman alone. Throughout the series, Strahm is shown to act impulsively based on his suspicions, often without backup. This instance proves to be his last.
Entering a room guided by Hoffman, Strahm finds the ominous glass box filled with shards and another tape. The tape commends his dedication and inquires if he has “learned anything on [his] journey of discovery.” Strahm is instructed to trust the tape and enter the box to survive. Disregarding the warning, Strahm instead hides, awaiting Hoffman’s arrival. Their brief confrontation ends with Strahm trapping Hoffman in the glass box, triumphantly exclaiming, “I got you, you motherf*cker.” This moment of perceived victory becomes his undoing. The box descends below the floor, positioning Hoffman safely as metal walls begin to close in.
While Strahm’s skepticism towards a serial killer’s tape is understandable, his failure to heed the explicit warning to trust the tape, especially after ignoring a similar warning earlier in Saw V, proves to be a critical error. This trap, unlike the water box, offers no escape for those outside the glass enclosure.
The walls crush Strahm, resulting in a gruesome and audibly excruciating death, complete with a bone-chilling arm fracture. Adding to the tragedy, Erickson, tracking Strahm’s phone (which Hoffman planted), coupled with the missing precinct files, concludes that Strahm is the Jigsaw accomplice. Thus, Peter Strahm’s legacy is not only death but also posthumous defamation, at least until Hoffman’s eventual exposure.
Strahm’s final confrontation with Hoffman, moments before his tragic demise in the crushing walls trap.
Peter Strahm’s arc in the Saw franchise concludes tragically. In a series where few characters find favorable outcomes, especially law enforcement, Strahm’s relentless pursuit of the Jigsaw case ultimately leads to his downfall, echoing the fate of Detective David Tapp (Danny Glover) from the original Saw. His demise, while disheartening, is not entirely unforeseen given the perilous world of Saw. Despite his flaws, Strahm’s intelligence, unwavering determination, and bravery made him a character easy to root for. Scott Patterson’s compelling portrayal injected a vibrant energy into the role, making Strahm a memorable and impactful figure. His survival of the water box trap alone is a testament to his resilience, solidifying his place as a standout character in the Saw universe.
