Doppelganger

I shouldn't be surprised; this is hardly the first of the filmmaker's works that I've seen. Yet just as one is somehow astonished again and again with how in large part the oeuvre of Kurosawa Akira is one perfect film after another, I am struck again and again by how Kurosawa Kiyoshi's works mostly share the same traits of a very flat, low-key tone, often wry sensibilities, and a storytelling approach that is oddball and amorphous is not outright vague, or oblique. With this well in mind, what could possibly be more atypical of the man than to switch things up and be decidedly more overt with 'Doppelganger?' It's hardly that his other productions were carbon copies, or conversely that this does not in some fair measure share the same qualities, but the 2003 picture boasts far more liveliness, and occasionally a certain flair in how it is presented, that is uncommon for much of Kurosawa's body of work. Then again, maybe this was exactly the point given the nature of the material herein. And however we wish to judge it next to its brethren, the simple fact of the matter is that 'Doppelganger' is delightful, a smart black comedy that keeps us invested as much to see where things are going to end up as for how entertaining it is.

Increasingly dark as the length advances, the feature is also just unabashedly playful. The intermittent use of split-screen presentation accentuates the disparity between Michio and his double while simultaneously allowing more story to unfold, and even Kurosawa and Onaga Masahiro's editing is merrily sprightly. Hayashi Yusuke's sparing but tasteful and dynamic score deftly complements the mood at any time, varying between light and frivolous, moody and mysterious, and extra dramatic at points - a slightly less overcooked variation on the winking attitude that, say, pairs grandiose classical music with advertisements for cheese crackers. And while the whole cast gives unexpectedly vibrant performances, including Nagasaku Hiromi and Santamaria Yusuke, the title is also nothing if not a chance for Yakusho Koji to let loose. A frequent collaborator with Kurosawa, the dual role here allows Yakusho to show more of his range as Michio and his doppelganger carry themselves very differently, with markedly different personalities. And as the plot carries us from science fiction to offbeat humor to distinctly more grim and violent ideations, from start to finish we're taken on a peculiar, wild ride that's reliably engaging and entrancing.

Incredibly, for as fiercely intelligent and unremittingly abstruse as Kurosawa's movies have often been in their muted plot development, I'm inclined to think that of any of his projects that I've seen to date, 'Doppelganger' might be his most striking and outwardly impressive. He and co-writer Furusawa Takeshi penned a stunningly creative screenplay that shows itself more and more to be much more than first meets the eye as mercurial inventor Michio, married to his work in the worst of ways, finds himself confronted with his living mirror image. Dry, morbid, dashingly black comedy melds with touches of absurdism in building out a tale with a piercing psychological edge and earnest thriller airs as Michio and those around him are wholly transformed by their experiences. The plot takes hard turns I should have (based on the likes of 'Charisma' or 'Serpent's path') yet never would have anticipated (based on the premise, and the likes of 'Barren illusions,' 'Pulse,' or even 'Cure') and is curiously spellbinding in its imaginative, offbeat trajectory. More care went into the characterizations and dialogue than I think is too often true in cinema as they become part and parcel of communicating the narrative which is ultimately all about the character arcs, and the scene writing is nothing if not rich and vivid. With Kurosawa's expert direction achieving the perfect blend of all the many energies on hand, the result is kind of altogether dazzling.

Mizuguchi Noriyuki's warm cinematography offers its own sort of contrast to the tenor of the proceedings while ably visualizing every detail that there is to take in. From production design and art direction to stunts and effects one can readily see all the skill and hard work that went into this flick, and in the writing, direction, and acting alike we're greeted with a quietly thrumming vitality that's invigorating. Where Kurosawa's other pictures tend to be the type that sneak up on us as viewers, it's noteworthy that this one is more plainly upfront, and still it takes the full length for us to see the totality of its brilliance. I assumed from the outset that I'd enjoy 'Doppelganger,' but I'm all so pleased with just how good it actually is - absorbing, funny, thought-provoking, and honestly tantalizing for the story that it gives us, not to mention satisfying and, after its own fashion, rewarding. It's a feature that definitely occupies the stranger side of the medium, but if one is open to all the wide possibilities that cinema has to offer, it would be a sore mistake to pass this up. I, for one, adore Kurosawa's 'Doppelganger,' and I'm happy to give it my very high recommendation.

There are some elements of Hitchcock in the film. The set up is annoyingly slow for some people, but it's quite rewarding. The message of the film, is to listen to your own self, not the doppelganger. the doppelganger is within us, not necessarily seen. The point of him seeing is doppelganger, is that his double has the temerity to do the things he (Hayasaki) couldn't do. As he becomes bolder and more amoral he wonders is he becoming the doppelganger? Is Hayashi becoming the worst part of himself? Or perhaps his double is the real suppressed Hayashi? He discovers his ruthless, ambitious, lustful self through his double. It would make an interesting remake with issues of duality and existentialism. If we could have a conversation with ourselves, what would we say? - what would our other self say to us? This would be a fascinating concept that was done in several films - most notably "Jo Jo Dancer, Your life is Calling" - "the ghost of Christmas future showing Jimmy Stewart's future without him and his effect on others. Also "Family Man" with Nicolas Cage explored this theme. DePalma's "Raising Cain" (to a lesser degree) I thought this premise was pretty good - some may think it was a bit underdeveloped, but I liked it.

Nothing wrong with this movie, but nothing particularly special about it either. It was a nice little drama, with some action, comedy and scary stuff added in for spice.

It is all about one man's struggle to try and get what he really wants out of life (quit his job he hates, getting the pretty girl, etc), but never does. So his doppelganger (not necessarily evil, more like the person he always wanted to be, but was afraid of becoming) comes along and does it for him.

Great acting, direction (great split screen usage), and an alright plot line keep you interested and entertained. Well worth seeing.

6/10

One of these days, I'll see one of these so-called "horror" films that Kiyoshi Kurosawa directs. This and "Bright Future" are the only two I've seen thus far and both were completely unexpected. Don't let the American box art deceive you: it's not a "frightening" film.

However, it's fantastic. And truly bizarre. Assigning this film a genre is a ridiculous exercise. It shifts seamlessly between moments of high emotional drama, absurdist comedy, and violence.

And underneath it all is an interesting exploration of the concept of self: The reconciliation of who one wants to be, who one is trying to avoid becoming, and who one is. As the credits rolled, I laughed, impressed.

Don't go into the film with expectations. Just try it.

Michio is an unassuming engineering scientist struggling with his latest project: a robotic chair that would grant the paralysed increased mobility. Though he has made considerable progress with the idea, he is not working fast enough for his bosses, who want it finished ASAP. Highly stressed and on the verge of burnout, he feels as if everything is slipping out of control. Just then, Michio's life takes a drastic turn, as his more assertive doppelganger enters the picture, changing everything irrevocably. Will Michio finish his project, or will his double's machinations ensure his life is nasty, brutish and short?

Directed by Kiyoshi Kurosawa and written alongside Takeshi Furusawa, 'Doppelganger' is an interesting psychological-thriller-cum-black-comedy examining themes of identity, duality and free will. Kurosawa and Furusawa strike a fine balance between the humorous and the suspenseful, switching between the two in unexpected ways, which keeps the audience engaged and entertained throughout.

Using the doppelganger motif to examine what happens when one's identity is challenged by a sinister alter ego- as well as how one's choices affect one's fate- the film plunges some intriguing psychological depths. The narrative also has room to discuss the nature of selfhood, the role of technology in society and the ethical dilemmas of scientific innovation, without coming across as overly intellectual or pretentious.

This is not to say 'Doppelganger' is Kurosawa's finest film, for the narrative is somewhat uneven, and outsiders to his oeuvre may find its singular tone alienating. The last act feels rushed in comparison to the first two, despite arriving at a fantastic conclusion. Furthermore, some may find the black-comedy throughout hard to identify and enjoy, or conversely, may feel the film sacrifices some of its psychological depth for the sake of humour. However, while not as assured as his excellent 'Charisma' or as polished as the sinister 'Cure,' 'Doppelganger' is by no means unsuccessful or without narrative merit.

The cinematography, from Noriyuki Mizuguchi, is one of the true strengths of the film. It is of a minimalist style- reliant on long takes, static shots and natural lighting- which enhances the sense of realism and contrast of the surreal plot. The frequent breaking up of the image into thirds heightens the ambiguity of Michio's relationship with his doppelganger, while the use of mirrors and reflections creates a sense of confusion between the two. Additionally, the utilization of camera angles and movements- such as low-angle shots, tracking shots and zooms- emphasizes the presence and actions of Michio's double, often making him appear dominant and menacing.

The central performance from Koji Yakusho is similarly impressive. Like Jekyll and Hyde, he plays Michio and his double as two sides of the same coin; similar yet distinct. Yakusho portrays the differences between the two characters in subtle ways, including slight changes to his tone of voice, posture and facial expressions. He interacts with himself on screen convincingly, masterfully working with digital composites and body doubles to foster the illusion of two identical men. Yakusho conveys the emotions and motivations of both characters with skill and nuance, be it Michio's fear and confusion, or his double's anger and envy. The rest of the cast perform admirably, especially Hiromi Nagasaku as Yuka, Michio's love interest, and Yusuke Santamaria as Kimishima, Michio's colleague and friend, who provides both comic relief and moral support.

An intriguing and comedic exploration of the duality of man, Kiyoshi Kurosawa's 'Doppelganger' is a must see for fans of the director. Boasting an engaging narrative that examines mature themes with tact- though is never overly intellectualised- and featuring much entertaining black-comedy, it may not be Kurosawa's best film; but it is by no means a bad one. Bolstered by a terrific central performance from Koji Yakusho- and with fine cinematography throughout- 'Doppelganger' gives you a double dose of comedy and thrills that you'd be hard pressed to forget.