THE DOUBLE

UK/US, 2014, 96 minutes, Colour.
Jesse Eisenberg, Mia Wasikowska, Noah Taylor, Wallace Shawn, James Fox, Cathy Moriarty.
Directed by Richard Ayaode.

The Double is based on a story by Dostoyevsky, transferred into a 21st century which is reminiscent of some of the stories of Franz Kafka and people being trapped in a bureaucratic nightmare.

The tone is immediately set when Simon James (Jesse Eisenberg) is the only person in the train carriage and is asked to give his seat up for someone who claims it is his. Simon sees his co-worker, Hannah (Mia Wasikowska) and tries to exit the train only to be blocked as workers are piling parcels in and he can’t get out the door, only then to have his briefcase trapped in the train door. The guard at the ticket office wants his card, which is in the briefcase, and refuses to let him through even though he knows exactly who he is. And then Simon just misses Hannah as she gets into the lift. That’s the beginning.

Life fir him is little better when he gets into his office, a small compartment along the corridor where the other members of the staff, mostly grey and white-haired men, try to busy themselves. They are all in awe of the Colonel who is the overall boss and his picture hangs on the wall. Mr Papadopoulos (Wallace Shawn) ticks off Simon, asks him to tutor his daughter who is most unwilling, and he calls Simon Stanley.

In many ways, this existence suits Simon, an introspective type who goes home to his apartment, watches television, but also uses his binoculars to look across a courtyard to Hannah and her room.

There seems little possibility for inclination for interesting developments thus far. What happens is that James Simon turns up at the office, an extrovert type, charming everyone, even having a face-to-face meeting with the Colonel. James seems to be good at everything, charms everyone, even Mr Papadopoulos’s daughter. He even goes out to a restaurant with Hannah.

Of course, James Simon is Simon James’ Double, his opposite, his complement, and his shadow side, and antagonistic towards Simon himself. Jesse Eisenberg, whose usual screen appearances resemble Simon, is effective as James – and he and James have many on-screen conversations and confrontations.

The rest of the film is Simon and his struggle with James, watching him when he wins over everyone at the office, orders a waitress around because that is what waitresses are for, and then going on a date with her. He uses Simon’s apartment as a rendezvous for his liaisons.

And how it is Simon resolve the tensions with his double? That is the climax of the film with audiences wondering how Simon has been changed by James and how he will relate to Hannah.

The Double was directed by Richard Auaode, comic actor turned director with his film about rites of passage, Submarine. The Double is certainly an intriguing project.

1. Dostoyevsky story, transferred to the 21st century? Universal meanings?

2. British- American coproduction, but an overall Europoean atmosphere? The interiors, the railway station, the office, apartments, the party, outside the office, the buildings and streets? An eerie atmosphere?

3. Dostoyevsky and overtones of Kafka? Crime and punishment?

4. The lighting and the style of photography? Editing? The special effects? Musical score?

5. The introduction to Simon, on the train, the empty carriage, the man ejecting Simon from his seat? The transfer of the parcels, Simon having to wait, wanting to pursue Hannah? His case jammed in the door? The authority refusing to recognise him, wanting the cards, identification and then allowing him to enter? Going to the lift and missing Hannah?

6. The workplace, bureaucracy, small offices, the age of the staff? Mr Papadopoulos, the Colonel, respect to him? His calling Simon Stanley, rebuking him, Simon working there for seven years? Mr Papadopoulos wanting Simon to help his daughter, her unwillingness? His writing reports? Going home, the telescope and watching Hannah in her room, the television program? His going for photocopying, the woman in authority and her stern look at him?

7. Visiting his mother, old, some dementia, the strange woman with her, a dislike of music? Death? The interview with the doctor about her illness? The funeral? The priest and his pursuit and bashing?

8. The atmosphere of the office, the lifts, kicking the door shut, his being reprimanded and interviewed about kicking?

9. His going to the party, his ambitions, Hannah and her presence, his being ousted? Told that he had no presence, no existence?

10. The sudden appearance of James, the same face, the effect on Simon? Who was James, Simon’s alter ego, complementary, wish fulfilment, shadow side?

11. James welcomed, an audience with the Colonel, Mr Papadopoulos praising him, his being assigned various jobs, working with Simon? His taking the credit when he had done no work? The relationship with Melanie, coaching her, the sexual relationship? His attraction towards Hannah, taking over, the effect on her, the restaurant? James and his angers, wanting to use Simon’s room for his rendezvous? With the telescope? His peremptory behaviour in the cafe, and attitude towards the waitress, his order, demanding, the sexual relationship with her?

12. Simon, having to fill out forms, his not being in the system, another lack of identity?

13. Simon and his attack on James, wounding his throat, his having the same wound? Simon and his plans, the confrontation with James, cutting his face, handcuffing him? Simon going to the window, falling? The phone call to Hannah, her watching? His jumping, and James being dead?

14. The ambulance, waiting, his life not being insignificant?

15. The overall impact of this kind of existential exploration of identity in a Kafkaesque workplace?