(Denis Villeneuve, Spain-
Canada-US, 2014, 90 mins.)
Canada-US, 2014, 90 mins.)
A bearded Jake Gyllenhaal, who appeared as a dogged detective in Villeneuve's suburban-set Prisoners, plays both of the central characters, starting with Adam, a disheveled history professor in Toronto (for once, the city plays itself). He has a decent job and a pretty blonde girlfriend, but something isn't quite right; he has trouble maintaining focus in class and his relationship with Mary (Beginners' Mélanie Laurent) seems a little perfunctory, though it's hard to say if there was ever any real heat there.
One afternoon, a colleague recommends a local comedy he thinks Adam might enjoy--and the guy definitely looks someone who could use a laugh--but it has the opposite effect. While watching the video, Adam spots an
actor in a bit part that looks exactly like him, and becomes obsessed.
He starts by figuring out the
actor's name, and then he poses as Anthony to get more information about
him. It's clear, at this point, that Adam has crossed a line, but he can't seem
to help himself. He calls Anthony to ar-
range a meeting, but gets his pretty blonde--and pregnant--wife, Helen (Sarah Gadon), on the phone instead. Since the men share the same voice, Helen thinks Anthony is playing a trick on her. Though her husband is initially reluctant, he eventually agrees to meet his doppelgänger.
Villeneuve opened the film by
depicting a private sex show in which a naked woman threatens to crush a brown recluse with her stiletto (for better or for worse, it plays like an outtake from Stanley Kubrick's Eyes Wide Shut).
Once Adam discovers his double, the spider imagery intensifies. Though the director and co-writer Javier Gullón added the creatures to Saramago's text, it works, not least because the special effects are convincing.
range a meeting, but gets his pretty blonde--and pregnant--wife, Helen (Sarah Gadon), on the phone instead. Since the men share the same voice, Helen thinks Anthony is playing a trick on her. Though her husband is initially reluctant, he eventually agrees to meet his doppelgänger.
Much of the rest of the film, however, feels more like an ode
to the body horror of David Cronenberg, though some of these
similarities may be more coincidental than not. Nonetheless, Villeneuve
didn't just shoot in Toronto, he used locations that appeared in Stereo and possibly even
Crash. He also called on Gadon, who appears in Cosmopolis and his son Brandon Cronenberg's first feature, Antiviral. Then again, it only makes sense to dip into Toronto's talent pool when
filming in the city.
There's also the distinctive look of the film—cold and clinical—and
the tone—so humorless that it's humorous (DP Nicolas Bolduc created the washed-out
palette in-camera rather than through post-production).
Then there's the concept of doubling which powers Dead Ringers, though Villeneuve never reveals that Adam and Anthony are long-lost twin brothers, but he leaves the possibility open, since they both have a scar on their abdomen. As with Jeremy Irons before him, Gyllenhaal has to pull off two roles or risk sinking the film. He does, and that helps to keep it afloat. If anything, he gives a better performance(s) in Enemy than he did in Prisoners in which he played an intriguing, if underwritten character.
Then there's the concept of doubling which powers Dead Ringers, though Villeneuve never reveals that Adam and Anthony are long-lost twin brothers, but he leaves the possibility open, since they both have a scar on their abdomen. As with Jeremy Irons before him, Gyllenhaal has to pull off two roles or risk sinking the film. He does, and that helps to keep it afloat. If anything, he gives a better performance(s) in Enemy than he did in Prisoners in which he played an intriguing, if underwritten character.
[spoiler space]
Not to give too much away, but I think the solution to the mystery lies in Cronenberg's
adaptation of Patrick McGrath's Spider, in which Ralph Fiennes sees
a whole lot of things that aren't there. The very title of that book and film
seems like a dead giveaway, particularly in light of Enemy's surfeit of spiders, but Villeneuve's bizarre Walker Brothers-scored ending is tantalizingly inscrutable. As a longtime Cronenberg fan, I should
probably be offended, except the Torontonian has been moving away from body horror for awhile now, so it was actually kind of enjoyable to see someone else pick up
the mantle--at least for the length of one film.
Enemy opens at SIFF Cinema Uptown and Sundance Cinemas on Mar 21.
