Richard Ayoade may be known to most of our readers as the lovable, quirky Moss from The IT Crowd. The more discerning amongst you should know that he has been quietly making a statement of intent with his work behind the camera, firstly with the coming-of-age film Submarine and now this effort, an adaptation of Dostoevsky’s 1846 noir-novella, The Double. Simon James (Jesse Eisenberg) is a rather pathetic man: meek, socially awkward, afraid of conflict and frankly unnoticed by people and the world at large. His love for co-worker and neighbor Hannah (Mia Wasikowska) is oblivious to her. Upheaval begins when a new employee begins work at his company, James Simon (also Jesse Eisenberg). James is the polar opposite of Simon, confident, charming and soon has the entire company falling under his charms. But, nobody seems to acknowledge they look identical. What begins as a liberating friendship descends into a darker competitive relationship as James starts to exploit Simon’s timidness and love for Hannah.
The Double is a bleak but highly stylized film. The arrival of a doppelgänger in an already rather pathetic life takes Simon on a paranoid and intense journey. The world we see things unfold in is incredibly claustrophobic, contributing to the sense of unease. Production is reminiscent of communist Moscow (a nod to the source material) or perhaps even Britain in the 80’s, there is something very Thatcher-esque about the film.
While bleak there are quirky moments to elicit laughs, joyous moments such as when the doppelgängers initially bond before seeds of distrust are sown. The core of the film is the relationship between Simon and James, one character representing substance over style and the other the opposite. Eisenberg imbues a creepy weird quality to Simon, he is not inherently likeable but he is harmless. His mother fails to recognize him and even the building he works in seem does not acknowledge his presence, automatic doors slamming shut in his face, ID cards failing to register. So sympathy exists before James shakes things up. How they vie for supremacy in all aspects of Simon’s life being the source of humor and friction throughout.
The film wisely leaves you with a lot to ponder. Let alone not explaining the presence of this doppelgänger, the true mental state of Simon or even more trivial matters. There is not even a clear indication of what the pair do for a living, with 80% of the film taking place in their office its a bold and very Gilliam-esque move. Something to do with “regression analysis” is all we get. This workplace again has a bleak communist feel, scrutinizing glances, antiquated equipment and a ever watchful CEO/Big Brother character, The Colonel. The sound mix and score add to the atmosphere, it is rarely quiet, everyday noises cranked up to disconcerting effect and sound effects that perhaps hint at what is going on. Ayoade impresses with how he presents the adaptation, in many ways it feels an accomplished homage to multiple directors and techniques yet still has a distinct character of its own.
Being frank, I do not like Jesse Eisenberg, I find his mannerisms to detract from his work and the film in general but this is a film that seems an incredibly natural fit for his type of performance. His best work is with himself, the irony. Mia Wasikowska is another actor who I have never truly “understood”, here as the object of a man’s affections, again I don’t see why but she flits between a vacant foil for Simon and James to occasionally being a rather sweet addition to the cast. They are joined by a host of recognizable talent including Wallace Shaw (woefully underused), Noah Taylor, Craig Roberts, Paddy Considine, Sally Hawkins and Chris O’Dowd.
While there is much to appreciate, the film does falter towards the end. It becomes easy to lose track of who is who towards the end of the film. On reflection, this is deliberate, their proximity to each other bringing out the better and worse qualities in the other. But this combined with a loss in pacing means a quirky and engaging film ends on a rather flat note. The premise that drives the film having lost its novelty long before its conclusion.
THE PACKAGEThe Blu-ray shows off Ayoade’s vision of this dystopian world very nicely. A very dark film, the transfer is clear, no artifacting and the palette is showed off well. Blacks are solid and allow other colors, even darker ones to contrast well, when more vibrant color is used for narrative reasons it pops really well. The background noise and musical pieces are critical to the atmosphere in the film and thankfully sound is handled really well.
Special features are pretty impressive. Cast and Characters interviews the main players and how they approached the roles. Creating The Double: The Story and Design is a tad short for my liking but interesting none the less. The decision to use a drab palette over the initially proposed black and white as well as color themes for characters gives greater appreciation for how the film was presented. Behind the Scenes Comparisons shows filming behind the scenes often comparing with the finished product. Interview with Director Richard Ayoade confirms the brilliance of the man and makes one yearn for a full commentary. AXS TV: A Look at The Double is a rather generic interview/clip spliced effort that offers little. Overall though, a great package.
THE BOTTOM LINEThe Double is an inventive film that in the hands of someone less capable could have descended into a utter mess. A fascinating watch and a surprising showcase for the talents of Eisenberg. It meanders towards the end but there is plenty to appreciate and keep you interested. Frankly, any film that makes you think “this would pair well with Brazil” must be doing something right. It’s far from a home run, but more than enough here to suggest Ayoyade is a talent worth watching.
The Double was released on August 26th, 2014. A link to purchase is below.
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The Double [Blu-Ray] | [DVD] | [Instant]
