Some Thoughts on ‘The Double’ (2013), an Understated Cinematic Serenade

Rotten Tomatoes describes ‘The Double’ as follows:

“An awkward office drone (Jesse Eisenberg) becomes increasingly unhinged after a charismatic and confident look-alike takes a job at his workplace and seduces the woman (Mia Wasikowska) he desires.” [1]

Now that the film is contextualized, here’s a list of my observations after viewing it a few times.

The Double (2013)

Stylization & Elements at play: Atmospheric (scoring & foley, visuals, lighting) foreboding, tense, palpable melancholy, sardonicism; at times quite funny

Jesse Eisenberg as Simon James (despondent, meek, neurotic, introverted, moralist) Protagonist

Jesse Eisenberg as his double James Simon (overconfident, charismatic, narcissistic, Sven Golly, Darwinist) Antagonist

Stage play-like qualities

Americanized tones with a sprinkle of British sensibilities in response to Eastern-European source material. Russian undertones and some aesthetics. A few British actors placed haphazardly throughout the piece. Traditional Russian music can be heard during the nightclub scene.

The drab, minimalistic set-design with stark lighting communicates the story being mostly devoid of optimism. It’s quickly apparent that surrealism is to be used in favour of realism, macabre absurdity rather than serious and saccharine moments. These elements evoke Soviet Futurism & Constructivism, and more accurately the Soviet Montage movement.

The editing is aimed at creating unease and confusion; incorporating jarring shot changes, juxtaposition, all to achieve a sense of dissonance as that’s the main feeling felt by the protagonist, Simon James. Varying expressionist movements sought to display emotionality through the skewing of perception – creating surreal environments onscreen – battling realism as the tangible force behind filmmaking. While Soviet Montage is distinct from a movement like Expressionism, there may exist some overlap in that they both choose to toss realism to the side in favour of the absurd, surreal, and often times visceral.

To learn more about this subject click below: Soviet Montage Theory — Definition, Examples and Types of Montage

By Chris Heckmann on March 8, 2020

https://www.studiobinder.com/blog/soviet-montage-theory

Fyodor Doestoevsky’s dreary undertones were handled appropriately in adaptation, adding weight to the story while not weighing it down – the theme is fairly universal but communicated narrowly (I also found this to be true of ‘Crime & Punishment’ when reading it: cynical but invigorating in its raw sentiment).
The constant tonal shifts – are really more swings than shifts. The ebb and flow of the narrative uses this to its advantage; there’s a great tempo to the edit. Dialogue has beautiful rhythm, pastiche of dark comedy, surreal motifs and moments interspersed throughout with Dostoevskian critiques of bureaucracy and a heavy focus on existentialism

Eerily effective at conveying its message; that a world post-industrialization seems overwrought with intricacies, emotional baggage, and sporadic malaise. A sense of purposelessness and a persistent dread of the system provides the cinematic upholstery and drapery, while the house itself is built from the story of the main character’s longing for connection on a personal level. A common theme in Eastern European turn-of-the-century writing and recycled into later expressions via other mediums like filmmaking and cinematography

‘The Double: A St. Petersburg Poem’ (published Jan. 30th 1846) the book that the movie is based on, seems like a worthwhile read. Once you read one Dostoevsky might as well read a few more…if I end up giving that classic a go, an article comparing the two is a must-do.
Mia Wasikowska as Hannah gives a striking performance, plus the plot symmetry between her and Eisenberg’s character is freshly unique. An emotional core built around these two through their shared desolation provides a raw and unabashed look at an individual’s struggles in a modern context. But utilizing an anachronistic setting. The humour and acting is clearly contemporary while some of the visuals seem reminiscent of the 1950s, surreal machines and surroundings blur the lines making it impossible to place the time period. The film exists in more of a chronological medley – while still leaning into the 50s architecture, technology, and wardrobe.

Both actors manage obliquely Freudian portrayals. The sense of these characters’ yearning for connection in a strange world, NOT understated at all. Simon James (Eisenberg) and Hannah (Wasikowska) spend the film adrift in swirling self-reflection surrounded by maelstroms of existential dread. A tad depressing but ultimately a rewarding watch – Eisenberg’s dual role – as written in the film and novelization; clear Jungian elements, a heavy unpacking of the psyche via cinematic intent. Although the original novella was written and published pre-Carl Jung in the mid 1800s; the concept of a man’s “shadow consciousness” would later be explored in properties like ‘The Strange Case of Dr. Jekyll & Mr. Hyde’ (Robert Louis Stevenson) and ‘Great Expectations’ (Charles Dickens) in addition to other Victorian era literature. So it’s fair to say that fiction like this, along with other literature of the time period may have helped lay the groundwork for Jung’s later writings.

(Director of ‘The Double’ – Richard Ayoade)