Chained for Life

Besides the tremendous performance from Jess Weixler this film is absolutely atrocious. It was all over the place and made no sense whatsoever. I was completely lost and had no idea what was going on the entire film. I still don't know what the hell I just watched. Would not recommend.

'Actors and actresses are usually more beautiful than ordinary people....it is a supreme asset...because we love to look at them.' Pauline Kael's quote comes after Bonnie and Clyde (1967) because she is unhappy that the sexy violence is justifying it. Now it takes us further with this film we are obliged to look more at everyone. Chained for Life (1952) was an exploitation film about the real conjoined twins of Daisy and Violet Hilton. Aaron Schimberg takes his new one with the same title but instead of the 'Siamese Twins' he takes us to Adam Pearson who really has the genetic condition and we saw him in Under the Skin (2013) although he was also on many TV programmes. It is a rather splendid and difficult film within a film and relates to the previous film that we have to really look at others. We can consider listening to people is just as important as looking. We can commend Jess Weixler's performance as outstanding.

This must have been an immensely enjoyable film to make, once they'd worked out what piece of cinema or film they were actually trying to conjure - a little bit all over the place, to say the least, but as original a proposition as you've likely encountered for some time - with the main premise established on cultural prejudice and discrimination to difference. It uses those who lack the symmetry of societal expectations of beauty, by several standard deviations in this case, to reaffirm that differences are only skin deep but those physical attributes are shackled to the individuals psychology, as well as societal norms, whose end result is to imprison them without bars for most, if not all of their lives - akin to living in an open prison or asylum for a crime or crimes you didn't commit.

The uniqueness of normality. The beauty of authenticity. The illusiveness of abnormality. The uncomfortable act of being seen. The ugly act of being ignored. The horror of theatricality. The truth of fiction. The monstrous clarity of objectification. The innate naturalism of aberration.

The least democratic thing in our society is how attractive others find us.

This movie is a subtly unfolding, intentionally clumsily-forged, plasticine act of dreamlike kindnesses and social inhumanity.

The mostly unseen Herr Director of the movie-within-the-movie, Warner Herzog-esque in his rhetoric but Uwe Bollian in his craft, is a huge delight. And Jess Weixler does her best young Drew Barrymore at first, but arcs towards being herself as the film unclenches in its formalism.

I also like how this movie opens by highlighting one of the multitude of ridiculous Ayn Randian comments that hack Pauline Kael slung in the name of film criticism.

One review had remarked on the movie being a puzzler about many layers of frames competing. I think the meta-cleverness of the movie being within layers upon layers makes it hard to watch, but that it also resonates long after in the same way Memento does. You have to really think about how it all fits together and what it is saying.