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directed by Kurosawa Kiyoshi, reviewed by
sarudama.com
Doppelganger (Dopperugenga - Japan, 2003)
Genre: Quasi-supernatural Psychological Suspense
In Doppelganger director Kurosawa Kiyoshi
continues his fascination with the notion of human individuality. The
exploration of this theme can be found in most of his major films
(including Cure (1997), Kourei (2000), Charisma (2000), and Akarui Mirai
(2003)) and generally involves the evolution of the main characters'
moral standing in the face of strange and difficult experiences. In
Doppelganger, Kurosawa's exploration takes an entirely new approach and
involves the impact upon individuality when the main character confronts
potential madness and the sudden appearance of an evil twin
("doppelganger").
Although the appearance of a
"doppelganger" generally implies the presence of ghosts or the
supernatural, Kurosawa's tale focuses solely on the psychological impact
of encountering one's own double. As defined in traditional German
folklore, a doppelganger is a ghostly double which haunts the suddenly
bewildered victim. In Kurosawa's Doppelganger, this amounts to the
appearance of one's alter ego who proceeds to walk in your footsteps
while doing everything you wish you could were it not for social and
moral constraints. This notion of observing and reacting to the (wild)
actions of one's alter ego is the focused exploration of Doppelganger.
The film assumes the reality of
doppelgangers from the offset, so much so that it appears to occur
rather frequently and lies well within characters' ability to grasp and
accept as a part of their universe. Thus from the very opening moments
of the film, we are introduced to the reality of doppelgangers and the
ways which they are dealt with. The fact that they suddenly appear out
of nowhere and assume an alter-ego version of an individual's identity
is presented simply as matter of fact. No supernatural explanations are
offered, no horror on the face of the girlfriend or acquaintances of the
now doubled person, simply the quandary over how this situation can be
handled before the (original) life of the person is ruined through the
actions of the alter-ego. In presenting his theme this way, Kurosawa
intentionally and completely demystifies the idea of a ghostly double
and forces to audience to focus on the psychological dynamic between the
two egos.
The film's main character is Michio
Hayasaki (Koji Yakusho), a brilliant yet stressed-out researcher intent
on developing a chair with robotic capabilities. With ever-impending
deadlines from his sponsors and continued failed testing, even the
original Hayasaki is near unbearable to his research assistants. Amidst
outbursts of anger and despair due to the slow pace at which the project
is moving along, a clear decline in his physical and mental health is
apparent. Very soon thereafter, Hayasaki comes face to face with himself
in what he first considers a terrifying moment of mental collapse. But
the vision persists and he must soon come to terms with the fact that he
now has a new roommate which looks, sounds and dresses just like him.
The two are not identical however. The doppelganger seems much more
relaxed and confident. He speaks forcefully and often scolds Hayasaki
for not taking matters into his own hands. The doppelganger is also a
lot sloppier and thoroughly enjoys his sake (and wine and beer).
The doppelganger is also much less
restrained by convention and morality than Hayasaki, and quickly
proceeds to act out whatever he desires. This results in the prompt
firing of Hayasaki, who ironically seems relieved. It also results in
extensive vandalism, theft, and a few deaths. Although Hayasaki is
eventually acclimated to the presence of his double, and they soon are
holding prolonged discussions regarding their perspectives, it is never
clear just how evil the doppelganger is. The sense is similar to a lion
befriending a lamb. One is never quite sure of the motive of the lion,
whose nature it is to simply eat lambs. This increase in both
co-dependency and mistrust, alongside the increasingly brazen attitude
of the doppelganger leads the film toward its conclusion. That
conclusion, however, serves only as the basis for a further
transformation which manifests Kurosawa's thematic goal.
Doppelganger has the same feel, pace and
level of suspense as Kurosawa's earlier Cure and Charisma. The film does
not move from one shocking discovery to another, but rather proceeds
from one decision (and its outcome) to the next decision. As mentioned
earlier, it is not the reality of doppelgangers which Kurosawa is
interested in, but the dynamic of one's interaction with an alter-ego.
Thus choice, conversation and consequence are the main plot elements.
Cinematically, Kurosawa frequently employs a triple-split screen in
scenes where Hayasaki and the doppelganger exchange dialogue in order to
heighten the disjunction and possible schizophrenia of the situation.
Doppelganger remains true to Kurosawa's
characteristic form. If you enjoyed his earlier, purely psychological
films, you will likely enjoy this one as well. Lacking here, however,
are the contemporary relevance and crisp cinematography of Kurosawa's
Akarui Mirai or the ghostly moments of Kourei. (Audiences of Kourei
might recall in that film Koji Yakusho (playing Sato) encountered his
first doppelganger which he promptly and effectively dealt with. Could
that 30-second scene and its implicit possibilities be the origin of
this full exploration?)
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