Count me in. Except that for a large chunk of time — almost (but not quite) the whole movie — I had no idea what was going on with Clive Owen and Julia Roberts. Were they gaming the company? Each other? Both? Neither? Are we supposed not to know? Maybe some people like the confusion — a sure sign that something superior is going on. I'll put up with this sort of thing for a bit, but eventually the suspicion begins to dawn that the movie is being complicated, rather than complex, that it is patterned, rather than plotted, and then I check out.
I had the same deal with LA Confidential — another complicated movie that everyone loved and left me cold. Duplicity didn't leave me cold. The script is lean and economical, and its satire is beautifully done. Tonally, it finds the same sweet spot as The Right Stuff — sending up this world while never failing to make it matter. I never tired of seeing Paul Giametti ranting about his opponent's new creams and lotions. But over the long haul I found myself adopting the same defensive crouch David Mamet induces in me — a twist overload. The assumption that nothing is at it seems has its own predictability, after a while. You sit there going "that's not going to turn out to be true" or "I bet she tricks him". And you're always right.
For all the reviews I've read, this is the best thing written about Duplicity that I've seen. Extremely observant and right on the mark. Well done. You're a very engaging critic.ReplyDelete