In the book 'Kafka Goes to the Movies', an author investigates journal entries and letters, written by Franz Kafka himself - the tortured soul behind 'Metamorphosis' and 'The Trial' - to piece together his thoughts and feelings regarding the new form of entertainment: cinema. Someone who wrote such nightmarish prose, filled with anxiety upon anxiety, would surely have a perspective more critical than that of the masses. Would he even be able to enjoy watching this parlor trick?Actually, yes. Yes he was.
According to the book, he wrote about his time watching moving pictures - some as simple as a young woman looking pretty - with *shock* joy. And it's joy at something superficial, too. Amazing. If Kafka could time travel, would he be stuffing his face with popcorn, laughing at Michael Bay robot testicle jokes?
It's scary to think of, but might be easily explained with, ironically, Kafkaesque logic. At least, I hope it can.
This hope for an explanation can be found in The Double, which might be the best film of 2014. While not written by Kafka, it certainly is a world you can imagine him creating. In fact, I had a hard time calling the hero of the piece any name other than Josef K. - the man highlighted in 'The Trial'. Orson Welles adapted that book with Anthony Perkins, and the influence - visually and emotionally - is evident. Evident and then some. Fog filled nights, claustrophobic hallways and office space / prison like architecture are everywhere. Hopelessness and trudgery are afoot, with the only light at the end of the tunnel belonging to an oncoming train.
We experience this environment through Jesse Eisenberg as Simon James and James Simon. Unlike films like Fight Club and Black Swan, the sanity of Simon (the main one) is never really questioned. His competence, his pride, his patience, his worth all are... but this is a place where an exact physical double doesn't turn heads, and Simon is the kind of person to not really bother the situation much. Wouldn't want to make someone think less of you by inconveniencing them, right?
In its most brilliant moments, The Double presents headache inducing scenarios, hilarious for us but harmful for Simon. He and his double (at the insistence of the double) switch places often enough that, at different points, traits of the young man begin to bend. Simon playing James playing Simon, sometimes on purpose and other times by nature. He lives in a place of his own making, people treating him the way he feels about himself - it's ALL a reflection.
There is a beautiful futility in trying to stand out in a crowd, as there is a disturbing peace in staying put. I'm sure we have all experienced both, creating versions of ourselves to match. Much like what happened to Simon, Kafka probably felt as well. Perhaps he did enjoy the silly galloping tintypes, but wallowed away once home. One created such vivid stories, the other had some fun. When all was said and done, they both met an end, sad and comforting.
I'd take Franz to see Transformers: Age of Extinction, only after a viewing of The Double. Then again, life is too short for such self exploration. Pass the popcorn.
5/5 *s
The Double will have its New Orleans premiere via Shotgun Cinema on June 11th at 7PM, at The Old Marigny Opera House. Admission is $7. Cash and credit cards are accepted.
