On The Double

Richard Ayoade’s second feature, The Double is based on Fyodor Dostoyevsky’s novel of the same name, published in 1846. The bulk of Ayoade’s film follows Dostoyevsky’s narrative, although he opts for a more optimistic ending.

The protagonist of both stories, a socially inept, low-level bureaucrat in a dystopian world finds himself confronted by his image double, but personal opposite. Dostoyevsky’s story sees his protagonist begin to see more and more replicas until he has a break down and is hauled off to a mental hospital. Ayoade’s more positive ending connects the doppelgangers’ physically and when one hurts the other does too. A purposefully botched suicide sees one perish and one injured, but alive.

The subject matter is far from Ayoade’s first feature in 2010 Submarine, but no less impressive, both for showing incredible range as a director for balancing varying narratives, but also for creating complete fictional worlds.

The mise-en-scene of The Double is so perfectly and intelligently realized that the fantastical driving idea behind the film is completely plausible. Additonally, the characters, played by a collection of very recognizable actors, disappear into Ayoade’s unnamed dystopia. Despite being dark and existential The Double is also very funny.

What The Double offers, more than a thoroughly enjoyable film, is hope that intelligent cinema can find its way through the superhero blockade. Art over audiences.