Doppia personalità

This film's extremely low budget is evident onscreen, from the home-movie look of some scenes to the obvious inexperience of most of the cast. For what it's worth, however, auteur Andy Anderson did a lot with what little he had. Lead actress Stephanie Rascoe gives a strong performance; it comes as something of a surprise as one watches because she's not a typical movie star. She seems more like someone you'd meet at a PTA meeting, so it's that much more dramatic to see her enduring a brutal rape and then constructing a new identity in order to exact revenge. The rest of the cast is mostly one-timers and unknowns, though Steve Fromholtz had some renown as a folk singer and Laura (Lauren) Lane later became famous on "Hunter" and "The Nanny." It's the plot that's most interesting here, though it should be noted that it's much more difficult to assume a false identity nowadays, at least partially because of films like this one.

This is another film of the low budget, barely released,but worth the trouble to look for genre of independent films. A brutally raped woman ,trying to adjust to the endless trauma,is appalled to find her convicted attacker is released early on a plea bargain. Upon touching bases in her daily routines,she discovers different things she can do to escape her mundane housewife and take on a completely different persona to help her resume a full life. This film moves at a steady speed and makes it worth the time it takes to get to its climax and delivers it before just before you are ready to predict it. The film is like a close friend saying they found something and having you come and look ,after taking a long walk to get there,surprising you with his discovery.

Although this feels like a low-budget TV movie that you might find on a cable channel late at night, it is far more compelling and realistic than its adherence to that much maligned formula suggests. In fact, it is everything a TV movie is not: gritty, urban, slow-paced but suspenseful, engrossing yet unsentimental.

The actors, mostly unknowns, do a fine job, especially Stephanie Rascoe as the misunderstood housewife heroine who takes the law and her own identity into places she never thought possible.

Interstingly enough, the most compelling aspect of the film is the theme of identity. As a housewives, Rascoe's character is often seen engulfed by domestic chores, unable to get over her brutal attack. However, as her assumed identity, she becomes somebody else - a modern day femme fatale type that sits uneasily with the portrayal of simmering domestic inertia previously shown in the film. The ending is still shocking today and one of the most dramatic films you are likely to see. A minor gem.

The protagonist is consumed by her rape, and hearing that the perpetrator is due for release. Day to day life has obscured the event, but the news of the rapists impending release leads to the gradual obsession with the rapist, and a plan(?) for revenge (I'm not sure if she planned revenge, or just couldn't leave it alone, just had to know more). Her actions in creating a new identity, a new life, and placing herself in the right place are how it would be done in that time period. How she turns into someone that she wouldn't recognize, and how she deals with the outcome of her actions, are why it has stuck with me. I was surprised by the, rather ambiguous, ending; not what I was expecting.

The promotional catch phrase for this film is "never assume anything." That is more appropriate than one can imagine: it also applies to the film industry itself! Some people have dismissed this film due to it's low budget, relatively unknown actors, and slow pace. Assuming you need big budgets and big stars doesn't guarantee a good film and one that will still remain in your memory for years to come. That said, Positive I.D. is proof that a good idea carefully constructed will surpass most other films again and again.

Director/screenwriter Andy Anderson tells a compelling story without sensationalizing the topic of a rape. The film starts a year after the lead character's rape, and actress Stephanie Rascoe does a fine job in conveying her inability to overcome what has happened and her frustration that many around her can't understand why she just doesn't get on with her life. She then starts assuming another identity and the great thing about the story is that we are not clued in on her reasoning and scheme until the very end. Therein lies the slow pacing, but that's the beauty of this film--we are fascinated by her every move and NEED to stick with her through to the end! And what a satisfying payoff that is, too.

As for the low budget, it actually gives the film a real feeling, like the viewer is right there as an observer in each scene--almost as if these lives were being documented. The same goes for the dialogue. Rascoe's creation of false identities by using actual means of legal loopholes is amazing to watch, and frightening because of the fact that people actually do this. On a trivia note Lauren Lane from TV's sitcom The Nanny plays a rather fun role as the neighbor, which will surprise fans of that show.

Back in 1987 Positive I.D. was fortunately picked up by Universal and was given a wider release in theatres, helping it be discovered by a larger audience and notice from the critics, making several of their top ten lists for that year. Over the years it has survived by word of mouth and cable play, but now it can be a part of your collection since Anchor Bay has reissued it, and for true collectors its availability on DVD makes this a must-have title to own. See why an independent production like this from 1987 has held its own after all these years and is still revered by film buffs everywhere.