A24 via Everett Collection
Jose Saramago’s acclaimed novel The Double is a twisting, stream-of-consciousness narrative about a man who accidentally stumbles across his doppelganger. Full of long-winded passages designed to keep the reader confused as to what is real and what is imagined, it’s the kind of story that requires multiple readings in order for anyone to follow the abrupt and opaque turns the plot takes. It’s fitting, then, that Enemy, Denis Villenuve's loose adaptation, is equally as confusing and enthralling. It might not be entirely faithful to the text, as there are some significant changes (including the addition of a disorienting recurring spider motif), but it’s extremely faithful to the trippy and suspenseful tone of Saramago’s work.
Only Villeneuve’s second English-language film, the director has been making his mark in Hollywood with dark psychological dramas, and Enemy might be the film that makes studios finally sit up and take notice. Jake Gyllenhaal stars as Adam Bell, a mopey, rumpled mess of a history professor, who spends his days lecturing to a hall filled with uninterested students, and his evenings in a quiet, repetitive stupor with his girlfriend, Mary (Melanie Laurent). On the recommendation of a colleague he decides to break out of his routine by renting a movie, where he discovers that one of the actors looks exactly like him. From there, he devotes his free time to tracking down Anthony Clair, a decision that results in Adam getting trapped in a web of secrets, lies and mistaken identities.
However, the film holds on tightly to whatever the truth is, and keeps its buried somewhere underneath all of that creepy spider symbolism. At a few points, it seems as if something is about to unravel the whole affair – we're on edge through visits to Adam’s mother (Isabella Rossellini) and conversations between the academic and Anthony’s wife Helen (Sarah Gadon). The film's central design seems to be one of confusion and disorientation, but in a rewarding way.
That seems to be the goal of Enemy as a whole, and if it is, then it succeeds. The mystery of the film unfolds slowly, and both Gyllenhaal and Villeneuve draw out every scene in order to ratchet up the tension. Even then, though, the film gives off more of a constant feeling of unease than anything resembling a traditional thriller, which is heightened by the sickly yellow color palate that Villeneuve uses. Everything in the movie feel awkward and off, and forces the audience to attempt to break out of the twisted plot in the same way as Adam does.
There are times when the drawn-out, off-kilter nature of the film becomes frustrating, especially when the characters run away just as it seems like Enemy is about to show its hand. But even with the lack of answers, it still manages to present a riveting, suspenseful story. Much of this is due to Gyllenhaal’s two-faced performance, in which he relies heavily on elements like posture and clothing in order to differentiate between Adam, Anthony, Anthony-as-Adam and Adam-as-Anthony. He slips effortlessly between being a sad-sack and an arrogant jerk – a feat which the characters themselves, interestingly enough, are never quite able to achieve. It’s a tour-de-force performance, albeit a quiet one, and as the two men become more and more entwined, Gyllehaal adds layers and depth to both of them.The film doesn’t ask much of its supporting ladies, however, with Gadon, Laurent, and Rossellini playing one not characters who are tortured, confused and aloof, respectively. They exist mostly as plot devices that Gyllenhaal can play off of, there to remind the audience whether we’re watching Adam or Anthony.
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At only 90 minutes long, Enemy feels longer, which is meant in both a good and a bad way. Even when Adam and Anthony spend an uncomfortably lengthy scene circling each other, waiting for the other to make a move, the film is tightly paced, and packs a lot into a short amount of time. If it were any longer or any shorter, Enemy might be more of a let-down, but an hour and a half is just enough time to keep you squirming in your seat before releasing you back into the world with more questions than you came in with.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.