Review by Josh P.
The Double follows Simon James (Jesse Eisenberg, who plays against type and is award-worthy superb), a meek man unrecognizable to his co-workers, one of whom is the girl of his dreams, Hannah (Mia Wasikowska, terrific). Early in the film, Simon’s bleak life takes two unhappy turns. First, he witnesses a suicide, and then his doppelgänger, James Simon (also Eisenberg, this time playing to type), begins working at the same company, doing a similar job. James is more likable and confident than Simon, meaning he is more successful, despite being less qualified.
Writer/director Richard Ayoade’s film isn’t exactly scary, and might not even qualify as creepy. Nor is it commonly laugh out loud funny or emotionally impacting. Plus, it is at least somewhat derivative, obviously resembling Brazil (1985), amongst other movies. At times, as when Simon says things like, ‘But I used to exist. I mean I exist. I’m standing right here,’ it is even reminiscent of Wes Anderson’s best work. By rights, then, The Double, should fail to register, should fade from memory, should be just another conceptually interesting science fiction movie unable to maximize its potential.
Thankfully, it is more than that, owing mostly to Ayoade’s fantastic production design. The film’s thematic and narrative content is dark, and so is The Double’s color palette. Here we see mostly browns and grays, with some whites mixed in; the retro computers; the televisions; the characters’ costumes; interior and exterior doors; most walls; tables; desks; and so forth. Because much of the imagery is borderline dull, the few times we see bright color (consider James’ unbuttoned Hawaiian shirt), we know something significant will soon happen. Or, at the very least, that the image is meaningful to Simon.
The movie’s retro technology and set pieces are as effective as its color palette. From the box televisions, to the copy machines with dial controls, to the small screen computers, the technology helps solidify The Double’s setting and enhance its atmosphere. Its set pieces do the same: apartments are very small, and bigger rooms are mostly filled by complicated piping connected to aforementioned machines. Before long we begin to understand Simon’s world, to feel his claustrophobia and lack of entertainment, not to mention his social disconnectedness.
Ayoade, in other words, effectively immerses us in Simon’s reality, thereby making us care about the character and causing dread when the protagonist’s life goes horribly wrong. It doesn’t matter, in other words, that the director keeps us at psychological and emotional distance from Simon. We empathize with the character anyway.
Which is why The Double is thematically resonant and intellectually intriguing, the sort of movie that will keep viewers thinking, even days after seeing it. What does this picture say about an individuals’ place in society? About confidence? Identity? Relationships? And more?
Thematic power is not The Double’s only strength. The cast is terrific. Moreover, the central characters are developed well, and Ayoade and co-writer Avi Korine’s dialogue is witty. Finally, the film is funny enough to always entertain. Simply put, The Double is very good.
The Last of Robin Hood
Review by Ruth M.
Though the title refers to the role Errol Flynn’s best known of, this film is more about his last girlfriend, Beverly Aadland. She was only 15 years old when the legendary swashbuckler and reputable lothario made his conquest. He saw her going into Warner Bros studios, looking much older than what she actually was in her form-fitting red dress. The wide-eyed teen starlet inevitably and immediately fell for the Australian actor, but she really didn’t have much choice in the matter, given Flynn’s persistence and her own mother practically pimping her in order to *assist* her career. I can’t remember if the film said something about Flynn still being married to Patrice Wymore, but I found that out after the film.
This is really a sad story, not to mention creepy. Kevin Kline who played Flynn was 67 and Dakota Fanning as Beverly was 19 when they made the film, so the age gap between them is even bigger (47 years apart as opposed to 33). But what’s even creepier is how Beverly’s mother Florence (Susan Sarandon) not only encouraged the affair, but also willingly became the third wheel as they travel together. Her own marriage crumbled as her husband vehemently disagreed with what Florence did to their own daughter, and sensibly, he didn’t think Beverly really had talents for showbiz anyway.
And so, the 90-min film pretty much follow the three of them travel from L.A., New York, Africa, even Cuba where Flynn made a pro-Castro propaganda movie starring Beverly. It’s amusing to get a glimpse how Old Hollywood operated back then, well specifically, how a notorious Golden Age movie star lived. There’s a brief scene where Flynn tried to convince Stanley Kubrick (Max Casella) to cast her alongside him in Lolita. But they soon realize that the affair didn’t really do much for Beverly’s career. The film paints a devastating picture of the ruthless desire for fame and the price people pay to achieve it. It’s not an in-depth biopic, nor a particularly emotional one either, as I barely connect with any of the characters.
All three main characters are such tragic figures in their own right, though I don’t quite have an emotional connection with any of them. I feel for Beverly the most, yet she isn’t exactly blameless in all of this. Though it seemed that Flynn genuinely cared for her, their relationship wasn’t always smooth. It lasted for merely two years when the alcoholic Flynn died suddenly of a heart attack. Seemed that beneath the devil-may-care facade, even Flynn knew that death was looming.
I feel like this story is perhaps more suited for a TV movie or something in terms of its production quality. I think the performances are good, both Kline and Fanning are pretty committed to the role, and Kline’s resemblance to the older Flynn is pretty uncanny. Sarandon plays the ruthless and fame-hungry Florence convincingly, up until the end she still sought attention when she spoke to the tabloid about the whole affair. Despite Beverly’s insistence that she dropped the book deal, her book was still published.
If you’re a big fan of Errol Flynn this should be an interesting movie to rent. Even if you aren’t [like me, as I haven't seen any of his movies], surely you have heard of him. It’s a pretty stylish film by Richard Glatzer & Wash Westmoreland, I think they managed to capture the era quite well. Just don’t expect anything profound or poignant, it’s merely amusing for me, but falls short from being a truly engaging biopic.
What do you think of these two films?