Impulse - Review
Robert Louis Stevenson's schizophrenic-nightmare novel The Strange Case Of Dr Jekyll And Mr Hyde has been adapted to the screen in various guises. Perhaps the most famous version of the classic tale is Victor Fleming's Dr. Jekyll and Mr. Hyde (1941) starring Spencer Tracy in the titular role(s) with support from the stunning duo Ingrid Bergman and Lana Turner. In his latest thriller, Impulse, Charles T. Kanganis has (loosely) updated the Jekyll and Hyde fable, picking up and leaving out elements of the original story at will. In this case it is a tale of misidentification, and the film posits the dual questions: can we truly know our lover and what evil lies latent within all of us? Impulse is also concerned with how the civilised world operates to limit our potential, in both positive and negative ways. All of these questions are dressed up in a sexy thriller format that tends toward excess rather than subtlety. The result is an enjoyable romp of over-acting (the "Hyde" character provides rich opportunities to chew the scenery), miscommunication and genuine thrills.
Claire (Willa Ford) and Jonathon Dennison (Angus MacFadyen) share a warm and loving marriage, but the spark has left their physical relations. He is much older than his beautiful wife, and in his middle-age he has turned the focus of his passion toward his work as a leading psychologist. In an attempt to reignite the fire in their relationship, Claire arrives home in a wig and kinky attire, assuming another persona with the name Lucia. The "ruse" is only semi-successful but it lays the groundwork for further games of false identities and make-believe that gradually yield terrifying results. To talk too much about the plot of Impulse is to risk giving the whole game away. The story relies on an early plot twist which inhibits too much discussion of events that take place afterward. It must be said, however, the twist is so obvious that it shouldn't trouble even the most casual of viewers and knowledge of it will not hinder the enjoyment of the film.
Kanganis wrote the screenplay for Impulse, and for this he may be suitably ashamed. As a director, however, he rightly refuses to take the material too seriously and instead focuses on creating an entertaining atmosphere. This is a thriller in the Basic Instinct (Paul Verhoeven, 1992) sense where more is more, and no amount of preposterousness can stifle the action. In that same tradition, Willa Ford spends a large part of the film in various states of undress and erotic rapture. To Ford's credit she does present a good dramatic performance in conjunction with her "eye-candy" responsibilities. But this is really Angus MacFadyen's film. His performance fittingly inscribes the highs and lows, ebbs and flows of a schizophrenic mind. Even when he is underplaying his role, he is still over-playing it; a series of physical tics and vocal modulations (along with a shaky American accent) provide immense enjoyment throughout. MacFadyen has utterly consumed himself in the role, completely ignoring the silliness of the story and disregarding the cavernous plot-holes.
Following the amusement of the first half of the film, the plot takes a turn toward the sinister. Here the tenor of the film is decidedly more uneven, the director not always sure of what key he's in. There is one particular scene of sexual violence which is misjudged, it doesn't belong in film of this style. Additionally, the film overstays its welcome, its story and its transparent twists cannot sustain the full running time. Kanganis colourless directing style does little to pick up the pace or animate the convoluted narrative; his approach is to merely step back and let the story tell itself. As is often the case with the Jeckyll and Hyde myth it is the actor who has the greatest range for expression. To be able to play the meek and mild off against the puffed-up and violent is a tasty treat for any thespian. MacFadyen relishes the opportunity and carries the audience with him. The "evil" character is more appealing than the virtuous persona, our senses drawn to the dangerous. This is reflected in Claire's actions and motivations too. She is attracted to the threat of the "Hyde" character as much as we are, and it is this magnetism that generates the dramatic events that follow.
Impulse is then a morality tale. A desire for excitement and adventure may bring with it unwanted consequences. One may wonder if this was Stevenson's intention all along, to pose the question: is it better to be good and boring, or bad and fascinating? Impulse is a combination of all these characteristics: it has it's good moments and its bad and its tiresome elements and its fascinating moments. It's by no means a great film, but it tries hard to be good at what it is, and it sometimes succeeds.
Claire (Willa Ford) and Jonathon Dennison (Angus MacFadyen) share a warm and loving marriage, but the spark has left their physical relations. He is much older than his beautiful wife, and in his middle-age he has turned the focus of his passion toward his work as a leading psychologist. In an attempt to reignite the fire in their relationship, Claire arrives home in a wig and kinky attire, assuming another persona with the name Lucia. The "ruse" is only semi-successful but it lays the groundwork for further games of false identities and make-believe that gradually yield terrifying results. To talk too much about the plot of Impulse is to risk giving the whole game away. The story relies on an early plot twist which inhibits too much discussion of events that take place afterward. It must be said, however, the twist is so obvious that it shouldn't trouble even the most casual of viewers and knowledge of it will not hinder the enjoyment of the film.
Willa Ford - method acting?
Kanganis wrote the screenplay for Impulse, and for this he may be suitably ashamed. As a director, however, he rightly refuses to take the material too seriously and instead focuses on creating an entertaining atmosphere. This is a thriller in the Basic Instinct (Paul Verhoeven, 1992) sense where more is more, and no amount of preposterousness can stifle the action. In that same tradition, Willa Ford spends a large part of the film in various states of undress and erotic rapture. To Ford's credit she does present a good dramatic performance in conjunction with her "eye-candy" responsibilities. But this is really Angus MacFadyen's film. His performance fittingly inscribes the highs and lows, ebbs and flows of a schizophrenic mind. Even when he is underplaying his role, he is still over-playing it; a series of physical tics and vocal modulations (along with a shaky American accent) provide immense enjoyment throughout. MacFadyen has utterly consumed himself in the role, completely ignoring the silliness of the story and disregarding the cavernous plot-holes.
Following the amusement of the first half of the film, the plot takes a turn toward the sinister. Here the tenor of the film is decidedly more uneven, the director not always sure of what key he's in. There is one particular scene of sexual violence which is misjudged, it doesn't belong in film of this style. Additionally, the film overstays its welcome, its story and its transparent twists cannot sustain the full running time. Kanganis colourless directing style does little to pick up the pace or animate the convoluted narrative; his approach is to merely step back and let the story tell itself. As is often the case with the Jeckyll and Hyde myth it is the actor who has the greatest range for expression. To be able to play the meek and mild off against the puffed-up and violent is a tasty treat for any thespian. MacFadyen relishes the opportunity and carries the audience with him. The "evil" character is more appealing than the virtuous persona, our senses drawn to the dangerous. This is reflected in Claire's actions and motivations too. She is attracted to the threat of the "Hyde" character as much as we are, and it is this magnetism that generates the dramatic events that follow.
Impulse is then a morality tale. A desire for excitement and adventure may bring with it unwanted consequences. One may wonder if this was Stevenson's intention all along, to pose the question: is it better to be good and boring, or bad and fascinating? Impulse is a combination of all these characteristics: it has it's good moments and its bad and its tiresome elements and its fascinating moments. It's by no means a great film, but it tries hard to be good at what it is, and it sometimes succeeds.
Impulse
