Dead Ringers

This movie is a masterpiece depicting the same actor as twins. Very good technique but the emotion is lacking. There was so much potential yet the movie failed to impress me with its story. Its pacing is slow, the relationship between the characters has to be assumed, and there is nothing really shocking where there is supposed to be.

A very fine film that challenges and rewards just about equally and somehow has a downbeat ending that manages to be uplifting. I suppose we have been through a lot by the end and although there is an horrific sadness there is an awful inevitability and we like the twin brothers can finally see no other way out. Bujold plays a starlet who comes between two identical twins (Irons in his two best screen performances!) and whilst the tale begins playfully enough we are given enough signals to suggest all will not be well, although we like all three leads do hope so. We see ourselves in the three and if at first we are confounded to discover we are confused by who is who, just when we have got the two under some control, like Bujold indeed, it all goes wrong and the brothers switch personalities before our very eyes. This is all disturbing enough without the gynaecological instruments of torture and the playing with pain and pleasure leading us to some darkened room.

Known as a director of "weird" films (unfortunadely unusual means bad for many), Cronenberg is actually a serious studious of the human mind, not unlike Ingmar Bergman, and here he does it better than in any other of his films i have seen (Spider, The Fly and Videodrome- the last one about the influence of TV in society and the least introspective of them). Like in the pictures mentioned above, the very strange premise is a excuse to a deep analysis of the human psychology: what is identity? where is the line between love and obsession? how dependent of another person someone can be? where does one ends and the other begins? It can be seen the influence of Bergman, most notably Persona and The Hour of the Wolf, and arguably Hitchcock's Vertigo, and, as the masters, Cronenberg does not provide easy answers, or any answer at all. But no matter how great the director is, the film would not be successful without the talent of Jeremy Irons. An actor capable of very good performances even in bad films, like The Man in the Iron Mask, he delivers here one of the greatest performances of all time, playing two extremely complex characters without being over-the-top or inexpressive in any moment, confusing us of which is Bev and which is Elly when he is supposed to, and making clear who is he playing in the right moment. Dead Ringers is not an ordinary film, so is not for ordinary moviegoers: it is very complex, not commercial at all, can be very hard to look at it in some moments, and don't expect to feel good after watching it. But if that does not drives you away, i strongly recommend.

Cronenberg consistently makes technically well crafted films. His subject matter however and the way he displays his subject matter (ie – his love of gore and perverse creations), often divides opinion of his works.

I think what makes DR a remarkably strong film is that Cronenberg tones down his use of trademark gore. There is a little, but it's used sparingly and non-gratuitously. This shows that Cronenberg can exercise self-control when he wants to.

The overall look of the film is beautiful: Ultra modern and austere. The twins apartment looks like the perfect abode for socially detached souls.

But the most extraordinary aspect of DR is Jeremy Iron's performance as both Mantle Twins. He shades each of the twin brothers amazingly and makes them both terrifying and sympathetic characters. Geneviève Bujold also delivers a faultless performance, looks fantastic as a more mature woman and proves the fact that women over 40 can be very sexy; a fact which Hollywood (very insultingly) continues to ignore.

The film's subject matter is very unsettling and controversial. As a man, I found a lot of scenes difficult to watch. But to be fair, Cronenberg never pushes the film into the cheap and tasteless territories of gratuitousness and exploitation.

Overall, DR is a very heavy experience. As one reviewer noted: ‘Do not watch if you are feeling depressed.' I agree totally with this point. But it is a film which is guaranteed to remain in the mind a long, long time afterwards. Ultimately, I like films which I can remember in detail years after I've seen them.

7/10

Growing up together as social outcasts with only each other for company, twins Elliot and Beverly Mantle become very close. This closeness becomes more like them both sharing one self in two bodies as they study in the same area and eventually become experts in the field of gynaecology. They share everything and few can tell them apart; an arrangement that works well until Beverly falls for a patient (Claire Niveau) and finds that there are things he doesn't want to share with Elliot. As Bev confronts the idea of them being separate for the first time ever, he starts to fall apart mentally and, when Elliot tries to reach out and help him he too is drawn into confusion over identity and an inability to find where one of them stops and the other starts.

Being a Cronenberg film I knew to expect body horror and, shall I say, an 'unusual' theme and in many ways the film delivered in spades but in a much more cerebral fashion. The plot is not easy to explain but it is a totally convincing breakdown of both Elliot and Beverly as they lose contact with the lines between them (if the lines ever really existed). Of course it is rather extreme but it is relentlessly interesting in terms of the script and the characters. The gynaecological part of the film allows Cronenberg to explore his more usual body horror stuff but this all came second to the much more interesting material that exists in the script. Cronenberg appears to be as fascinated as me by the characters and he directs with a cold eye, letting the creepy atmosphere come from not only the story but every shot, every set and every performance; not only this but this is one of his more accessible films without losing much of what makes Cronenberg Cronenberg.

Of course a massive part of the film working is two perfect performances from Jeremy Irons, who I have not seen better in any other films. Using special effects as well as the old 'over the shoulder' technique, Irons is able to convincingly be on screen in two characters at the same time, but it is not the shot framing that makes it convincingly two characters, it is Irons' performance that does that. His Beverly is so feeble and has a convincing breakdown; while his Elliot appears much more together but suffers in a different way from the same struggle. Obviously being identical, it is due to Irons that the two characters come across so very different but yet seem just like the same person. In every little scene he manages to stay in character no matter what – it's hard for me to describe, you need to really see it for yourself. Bujold is good in support early on but, as the twins' story gets more complex, her characters feels a bit intrusive and uninteresting, but generally she is good. However, to talk about anyone beyond this is to suggest there is room for them in the film – there isn't. Instead the film is pretty much dominated by two people – and they are both Jeremy Irons, producing two great performances that were vital for the film to work.

Overall this may be a little too weird for some viewers but many more will find it to be one of their favourite Cronenberg films on the basis that it has the qualities that makes him him but is also a lot more accessible as well. The body horror is there in the background but it is the psychological scarring and confusion that is of much more interest; the script is great even if the plot goes to the usual Cronenberg excesses but it is two perfect performances by Irons that makes it all come together in a compelling and interesting film.