Coming just a few months after the similarly themed Enemy, The Double tells the tale of an identity-challenged man whose life is slowly taken from him by an identical twin. While the first film takes a deadly serious approach, this version (based on the Fyodor Dostoevsky novel of the same name) takes a darkly comic tone. It’s a remarkably effective, funny and at times creepy effort that lingers in the brain long after the credits roll.
The story follows Simon (Jesse Eisenberg) a shy, data entry employee living a lonely and isolated life. He’s such a wallflower that he’s described by a co-worker as, “…a bit of a non-person.” When things aren’t going wrong for him at work, he pines for a co-worker named Hannah (Mia Wasikowska) whom he can’t even speak to. Events change when Simon’s doppelganger arrives as a new employee. James (also played by Jessie Eisenberg) is a smooth-talking extrovert who charms everyone he comes into contact with. Simon initially befriends James, but the two come into conflict when James slowly begins taking Simon’s life away from him.
It’s heavy, existential stuff that follows as Simon struggles with identity, isolation and invisibility. This is also highly interpretive material that almost demands a second viewing immediately after the credits start rolling. Yet in spite of the weight, the movie never quite loses its sense of humor along the way. It helps that Eisenberg possesses great comic timing. There are laughs when he’s displaying frustration and disbelief at others and their treatment of him, in many of his fast-talking conversations with his lookalike, or showing a nebbish physicality while struggling with several automated doors. It’s also fun to see entertaining supporting turns from the likes of Wallace Shawn, Sally Hawkins, Chris O’Dowd and Paddy Considine.
Additionally, mention must be made of the gorgeous photography and impressive production design. The mood of the piece is well established in the grey, utilitarian office environment. Additionally, the appearance of the hallways and metallic furnishing hark back to films like Brazil while maintaining its own unique look. If there ever was an environment that could stifle individuality and also be appealing to the eye at the same time, it’s this one.
In the end, director Richard Ayoade (Submarine) has adapted The Double into a humorous yet grim film filled with interesting ideas, thoughtful concepts and quirky laughs. It’s certainly an eccentric and challenging effort, but one that remains captivating courtesy of its sharp writing and impressive performances.