Shattered Image

Even with great set design and cinematography, this muddle of a mystery will leave many questions and confusion, long after it's over. Good, dual character arcs for both William Baldwin and Annie Parrilaud; however, neither seem to connect with the final denouement.I kept hoping I would understand the final outcome, but still remain unsure of what it all meant.It has a Hitchcock/De Palma/Shayamalan director's twist, but it doesn't seem to tie up all the loose ends.It is recommended, however, for anyone interested in post-traumatic stress syndrome, abnormal psychology, or readers of 19th century author,William James.

I think a crucial point in developing an individual taste for cinema is to be able to unwaveringly focus on the things that we feel personally matter. To coast without distraction through the small handicaps that hamper and limit a film in pursuit of the spark of creative vision (assuming one such that matters to us exists). This is to be able to enjoy Argento for who he is rather than in spite of his storytelling deficiencies.

One such thing we have here. A package that looks from a distance as straight-to-video fodder as vehicle for an almost recognizable name, acting that is ho-hum, stilted dialogue. The reward for a casual watcher catching this on latenight TV might be simply to cope a smile at William Baldwin playing actor.

I come to this for the filmmaker though with his potent notions about convergent realities and fictions passing as real, as part of my quest on Raoul Ruiz. Coming from two films he did back in France, both crushingly dry and tedious, for his American debut he reverts back to the heady magic he weaved in his 80's stuff. Soaking in colors, strange portents, frames that become real; a reality hung askew from which we are transported back and forth into the folds of the imaginative mind.

The scaffold: two women (played by Anna Parillaud) as figments of the one damaged mind, each in her separate reality dreaming up the other. Transitions between the two worlds, mostly through sex or objects as mirrors (an acquarium, a painting, even -rather painfully obvious- the frame of what we're watching shattering into shards).

So there is one subconscious where all the hurt is arranged into a wish-fulfillment fantasy (the woman plays a contract killer paid to kill men, eventually discovers the target she falls in love with to be innocent), and the conscious mind in the other plane trying to cope with the anxieties of a situation real or imagined (as seeping back from the dream and flowing into it). It is all about this cinematic flow of a nightmare that renews itself - a half-way intelligent device, perhaps squandered under the auspice of something for latenight cable.

Then there is the ending, no doubt imposed upon Ruiz by producers demanding some solid ground for their audience. It all makes sense eventually, what was real and what not. Again we may disregard this.

This is an enigmatic film with an interesting premise. Jessie (Anne Parillaud) has just married, and arrives in Jamaica on her honeymoon with her husband Brian (William Baldwin). She is troubled by dreams of herself in another life as an assassin, with her next target being antiques dealer Conrad, also played by William Baldwin. Most of the characters in one side of the confused lady's life are in the other side as different characters. Which is the dream and which is the reality? That's for us to decide. The film constantly switches between both characters, and it is puzzling at times. It is interesting at first, but ultimately the film fails because the acting isn't convincing. It's worth a look though if you like mysterious and surreal films.

This intriguing psychodrama bites off more than it can chew but presents a terrific alternative to the spate of "erotic" psychothrillers that the B-movie market usually has to offer. Parillaud plays twin doppelgangers that exist in parallel realities and could actually be the figment of each others' imaginations. Sounds promising? It is, and while I was waiting to be utterly confused at any moment, the plot lines held together pretty well. Director Raul Ruiz has had some practice at this, as anyone who has seen the utterly absorbing "Three lives and only one death" can attest. This movie is not of the same caliber in that the pacing of the denouement seems a bit off and involvement with the characters winds up seeming a bit distant. Others might argue that this was Ruiz' intent; in any case, the acting is proficient in a necessarily cold, unaffected way. (Baldwins seem to be better suited to this style of acting and I'm not really being snide in that I happen to think Alec is a terrific actor and Stephen an underrated one). If I gave more away it would be a disservice- rent this movie and figure it all out for yourself. Corkymeter says four stars out of five.

Lynch meets Luc Besson's "La Femme Nikita", in this rare below average film of Ruiz. Something like Konchalovsky work on Tango and Cash. Ruiz blamed it on the producers and the crew. The camerawork does show the brilliance of a typical Ruiz film. Add to it a painting that keeps changing!