MISTAKEN IDENTITY
by James Snapko

Identity, a film that banks on John Cusack's star power and a convoluted third act, is part Friday the 13th, part Scream, and part The Usual Suspects. It's the worst part of each of those films. It's also one of those movies that can't be discussed in detail, because it relies heavily on plot elements that, if explained, ruin the surprise ending. What I can tell you is that it's a psycho-killer film disguised as a psychological thriller. Thematically (if there is a theme) it's a film that deals with multiple personalities (hence the title). But, really, it's a film that relies on a preposterous set of narrative elements that don't add up--not to anything very interesting, anyway.

Ever since The Usual Suspects, the "pull-the-rug-out-from-under-you" principle has gained a lot of momentum. Until this form runs out of steam and stops making money, we'll see plenty more of these types of films. But with any movie that adheres to a certain set of criteria (e.g. any genre picture), there are films that succeed in that form and others that fail. This one falls in the latter category. Identity's only purpose for existing is to trick the viewer. In doing so, it doesn't play fair with the audience, and this ultimately alienates us from the characters, the plot, and the film's tenuous themes.

I will give Identity some credit -- at times it resembles what I might call a decent cinematic diversion (a..k.a. a popcorn movie). The film is atmospheric, utilizing drenching, non-stop rain, and expressionistic lighting as key components that amplify the film's sense of dread. Technically, director James Mangold relies on the cut to hit his marks. The editing style borrows from every teen horror film made in the last 30 years. In attempts to scare you, there are several moments in the film that use strident and extremely loud bursts of audio, combined with a perfectly timed cut, quite effectively.

The plot involves a series of brutal mishaps that keep the characters at odds with one another. In the opening credits we are presented with images of a psychologist listening to a tape recording of a mentally deranged patient. The patient is on death row, but if the psychologist can uncover this man's deep secrets, perhaps he will stave off execution. Soon after, we are introduced to a series of disparate characters who all end up at the same creepy motel. How they get there is unimportant, because after all, they need to be confined and hunted in the "psychological" space the filmmakers are banking on.

Seen this before? Several people get trapped in a small, claustrophobic location. Then, one by one, they are inexplicably murdered just off camera. But since the ultimate payoff doesn't work, and the film seemingly uses every ounce of energy to get us to that payoff -- what is the point? There isn't really enough sexuality to titillate the audience; just enough to perpetuate negative stereotypes against women. Case in point: Amanda Peet plays Paris, a likeable, feisty prostitute who plays a big part in one of the major plot twists. She is an object of desire, plain and simple, and since she's a prostitute, she warrants our scorn--or at least this is is how the filmmakers position her. In fact, all the characters are nothing but hollow plot devices.

We are also offered a lame and purposely complicated explication of a "surprise" character's mental disorders. Not only does the film cheat its way through the character's underdeveloped psychopathology by omitting details that might allow the audience to partially identify with someone in this film, the film uses that pathology only as means to an end. We just aren't allowed to take the psychological element in this film seriously. Mangold offers a series of cutaways in a revelatory montage near the end in attempts to justify what we've seen up to that point. By doing this, he precludes our natural curiosity and dispels our logical observations along the way. So many details and explanations are left out that we are left feeling cheated. Why bother with ambiguity, Mangold seems to be saying, when I can stuff this rubbish down your throat just as easily? With this attitude of contempt towards the audience, it's no wonder Identity doesn't work.

©2003 James Snapko
CineScene