Richard Ayoade’s second film and
follow up to 2010’s critically acclaimed Submarine
is The Double, a dark comedy based on
Fyodor Dostoyevsky’s satirical novella of the same name. Set in a subterranean
hinterland of unknowable time and location, the film follows the life of
lonely, ignored and unseen data imputer Simon James (Jesse Eisenberg). Simon
floats through life unnoticed by those around him, stating that he feels as
though people could almost reach through him as though he wasn’t there. When a
new co-worker is introduced, Simon is shocked to discover that he looks and
sounds exactly like himself. His doppelgänger though is everything he is not;
cocky, outgoing and highly visible.
The Double could easily have been a film that was known for its
story. Based on the work of one of the literary greats of the nineteenth
century, the film has the narrative already safely mapped out and it indeed
delivers an interesting and complex story. In the hands of Ayoade though, this
film will be remembered for more; chiefly its design and sound. Richard Ayoade
has constructed a magnificent film that evokes so much but remains unique. It’s
beautiful and funny, grim and depressing all in equal measure.
The film hits you like a Wes
Anderson nightmare in muted colours. Distressed lime green sits alongside
bright mustard which is sprinkled with futuristic electric blues and deep reds.
The lighting is often backlit in orange and the colour palate as a whole gives
an uneasy sense of timelessness, as though several eras have been blended
together before being spit out. The palate is complimented with props and set
design which seems influenced by Terry Gilliam’s Brazil.
The underground office complex is dark, dingy and cruelly familiar. It looks
like the future as imagined in the 1950s, accurate but simultaneously
incorrect. Computers and machines are half recognisable but function unlike
you’d expect while they’re joined by tokens of a bygone age such as wooden
cubicles and rotary dial telephones. The entire film is an absolute joy to look
at. There is always something to distract the eye, whether it be an unusual
prop, some beautiful lighting or exquisitely designed backdrop.
As important as the visuals is
the sound. Ayoade makes use of multiple microphones positioned in different
locations to give the audience its audible entertainment from differing
perspectives. It’s an interesting concept and works remarkably well. Sound is
more noticeable in this picture than in most others and the general foley
captured sound is added to with background noise which, like the film as a
whole, feels unnatural and out of place. The entire movie seems as though it’s
built atop a busy subway line or next to a generator on the verge of kicking
in. It shakes and rattles at random intervals and this makes the movie feel
alive. The score is made up of sharp, echoing orchestral strings and loud
foreboding piano. It fits like your favourite glove and is interspersed with
occasional outbursts of song which include antique Japanese avant-garde pop and
blues tinted rockabilly.
The actual plot is very
interesting and I was engaged throughout. There are themes of wanton acceptance
as well as loneliness and of course schizophrenia is never far from the mind.
The doppelgänger is the man that Simon wants to be, who he has the potential to
be, both good and bad. He’s at both ends of the extreme whereas Simon sits
quietly in the corner. He’s magnolia. In its latter stages the film takes a
turn which isn’t the one I’d been expecting and dreading. It’s able to surprise
and enthral even though the audience can plan out the narrative after only a
few moments. Although set inside a strange parallel world, the themes are
recognisable, as are both central characters.
Jesse Eisenberg plays Simon and his
double perfectly. The characters are distinct despite their exact physical
similarity and the actor successfully appears to be two different people. Simon
seems like plain sailing for Eisenberg, not a million miles away from his
geeky, unsteady characters of The Social
Network or Zombieland. The
cocksure James is Eisenberg more out of his depth and to play both characters
simultaneously shows great talent. Mia Wasikowska is the female lead and love
interest. She’s a little underwritten, despite possessing a fleshed out
character and is never the focus of the film. The actress is excellent though,
proving her moody turn in Stoker was
no fluke. Here she’s lighter at times but displays a constant state of sadness
suppressed just below the surface. Alongside the two leads are a host of actors
and comedians who provide humour and strangeness. Wallace Shawn is particularly
memorable as Simon and James’ boss While Paddy Considine, Chris Morris and
Sally Hawkins have terrific cameos although theirs are just some of many.
What’s striking above all else is
what an assured and well made film The
Double is. It’s remarkable that it’s only the director’s second feature as
it has all the tell tale signs of high competency that accompany a well versed
veteran. The film is funny and sad, strange and beautiful and I highly
recommend it.
9/10
10/10 GFR
You may also like
Delicatessen 1991
Persona 1966
Stoker 2013
No comments:
Post a Comment