Published via Ecency

(source: tmdb.org)

Quality of a film can depend on many different factors, but in some instances the most important among them can be the choice of main actor. This was the case with Dead Ringers, 1988 Canadian drama directed by David Cronenberg, a film that rests almost exclusively on the shoulders of its main star.

The film is based on Twins, novel by Bari Wood and Jack Geasland, which was inspired by the real life story about Stewart and Cyril Marcus, two New York gynaecologists and identical twists whose bizarre death remained source of mystery. Their fictional counterparts are Beverly and Elliott Mantle (both played by Jeremy Irons), brilliant physicians obsessed with female body whose innovative surgical tools brought them fame, fortune and successful practice in prestigious Toronto clinic. While they look identical, their characters are slightly different; Elliott is more extrovert and confident, unlike nerdish Beverly. Elliott has great success with women and often allows Beverly to take his identity and share some of his romantic conquests. One of them is Claire Niveau (played by Genevieve Bujold), an actress who came to the clinic for infertility treatment. When she learns about deception, she is at first appalled, but later finds a soft spot for insecure Beverly who genuinely loves her. Two of them begin living together but Beverly soon takes Claire’s habit of taking drugs, which would later begin to affect his work. Elliott at first wants to help his brother getting his life and career in order, but the strong bond will in the end make him adopt Beverly’s self-destructive path that would end in tragedy.

Dead Ringers was greeted very well by critics and won Genie, Canadian equivalent of Oscar. Despite that, it is relatively obscure compared with some other titles in Cronenberg’s filmography. This could be explained with fans of Cronenberg’s earlier films feeling confused and sometimes disappointed with this film not belonging to horror genre and instead being subjected to straight drama. Cronenberg is nevertheless a good director and employs great deal of skill and sense of style to it. This includes one of the earliest use of computers to make composite shots – necessary for the scenes in which Irons plays two different brothers; the illusion is flawless. Film also benefits from atmospheric score by Howard Shore, as well by cinematography by Peter Suschitzky who would work on all of Cronenberg’s subsequent films. He insists of grey and blue tones, especially in scenes that depict brothers’ posh apartment making the film feel cold and clinical. The cast is very good, especially Irons who did great job in complex double role. Genevieve Bujold is also believable as seemingly arrogant and cynical actress who nevertheless develops strange attraction to her emotionally vulnerable lover. However, all this good work is almost ruined by uneven script which Cronenberg co-wrote with Norman Snider. Pace is somewhat slow and Elliott’s transformation from seemingly successful and confident brother into victim of co-dependency isn’t properly explained. Cronenberg at times indulges into experimenting with body horror – like in the scenes of Elliott ordering bizarre torture-like surgical tools designed by artist (played by Stephen Lack) – but that usually ends as unnecessary distraction, just like the bizarre red surgical gowns designed by Cronenberg’s sister Denise. Although this film provided Cronenberg with somewhat smooth transition from cult horror film director into the world of art cinema, Dead Ringers looks too much like typically 1980s triumph of style over substance.

RATING: 5/10 (++)