Title: The Devil’s Double
Director: Lee Tamahori
Released: 2011
Starring: Dominic Cooper, Philip
Quast, Ludivine Sagnier, Mimoun Oaissa, Raad Rawi, Mem Ferda, Dar Salim, Khalid
Laith, Pano Masti, Nasser Memarzia, Tiziana Azzpardi, Akin Gazi, Amrita Acharia
Plot: Iraq 1987, Latif Yahia (Cooper) a soldier finds
himself recuited to become a “Fedal” (body double” for Uday Hussein (also
Cooper) the son of the Iraqi dictator Saddam Hussein (Quast).
Review: Lee Tamahori is hardly a director who springs up on
anyone’s favourite director list, despite memorably launching his directing
career with the powerful “Once Were Warriors” it's been a series of
disappointments which followed in its wake while he managed to single handily
kill both the “XXX” franchise (not even Wilem Dafoe could save that sequel) and
for awhile the “James Bond” franchise with the disappointing series
tribute “Die Another Day” while the less said about “Next” the better really.
Needless to say I wasn’t sure what to expect from this film, while sees
Tamahori moving away from action cinema and back to his drama roots.
While it might claim to be based on a true story, the facts
have been frequently disputed since the film’s release, mainly due to lack any
actual evidence that Latif Yahia had any connection to Uday Hussein let alone
the kind of access to the higher levels of Saddam’s regime as the film depicts.
This however does not stop it from being a fascinating story and a highly
enjoyable one to boot thanks largely to the phenomenal double act pulled by
Cooper as both Latif and Uday. At the same time Latif and Uday are fascinating characters in their own
respects with Latif being forced into new role as a Fedal, rather than
willingly excepting the role with his first refusal seeing him imprisoned and
tortured and ultimately only agrees to take on the role after being informed
that his family will be tortured and killed if he doesn’t agree. It is an
almost begrudging sense of duty which he takes on the role. Uday on the other
hand lives a “Scarface” style lifestyle thanks to the unlimited wealth and
power he is afforded as the son of Saddam. At the same time he also enjoys a highly
deviant lifestyle of hovering up vast quantities of cocaine, picking up school
girls of the street and frequently being prone of burst of psychotic violence
which it would seem is none too different than his real life counterpart.
Much like “Scarface” this is equally a film with a focus on gross
excess both in terms of wealth aswell as in violence as Latif frequently bears witness to Uday’s life as a playboy gangster
which he in turn he is forced to become a part of , while
Uday views him as his brother and an object he has created while deluding
himself into thinking that he has control over Latif, even though Latif is
constantly looking for a way out which won’t endanger his face who have been
left believing that he has been killed in the war. While the main focus on the story might be on this thread
like bond between Latif and Uday, the film also takes time to follow the
relationship between Latif and his advisor let alone the closest thing he has
to a friend inside of the regime Munem (Rawi) who like Latif is equally
disgusted by what he is forced to bar witness to yet at the same time continues
his duties with a sense of grim numbness. At the same time he is frequently a
source of sound advice for Latif even if you’re never sure were his loyalty
truly lies, more so when he never seems to really side with either party
throughout the course of the film.
Still if things are not complex enough a further twist is
thrown into the mix with Sarrab (Sagnier), Uday’s lover and the one person who
could prove to the breaking point in the fragile arrangement between Latif and
Uday as she soon starts showing an interest in Latif with the two soon carrying
on a relationship in secret. This however like so many aspects of the film was
seemingly included in the more fictional elements which have drawn most of the
criticism for the film especially when so much of the film can’t be proven or
would appear to have been based on real life events such as the jealous slaying
of Saddam’s bodyguard Kamel Hana (Ferda) by an enraged Uday.
The other criticism about the film is the levels of
violence which while sporadic frequently burst into cartoonish levels of gore
as with the aforementioned killing of Kamel Hana while providing yet another
reason to compare it to “Scarface”. At the same time the violence is never
excessively over used and often feels in context even if the tone of the film
is far from the serious biographical film that I think a lot of the detractors
were expecting it to be.
Unlike his more recent output Tamahori here proves that he
can still craft a gripping drama even if falls more between the worlds of his
brutally dark debut and the more action orientated later latter films. This is
still a great film and even while it might be factually questionable in places,
its strong characters and visual styling which includes a memorable scene of
Saddam playing tennis against his double this film gives us hope that he’s
still capable of producing memorable cinema, while at the time of writing it
remains to be seen if he continues on this track or returns to more mainstream
fare.
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