A fine film overall, if a wee bit pretentious, A DOUBLE LIFE explores the schizoid personality of a gifted stage actor whose despair and murderous moods come during his portrayal of Othello. Colman is a much-respected gentleman actor who specializes in classical drama. His courtly manners
and winning charm endear him to one and all, including his ex-wife, Hasso, who loves him but fears that his cruel streak will once again take over his otherwise stable personality. Winters, a buxom, steamy waitress, is attracted to Colman but soon learns that he is capable of violence. Losing all
touch with reality, Colman believes he is actually the terrible Moor he is portraying on stage, so he strangles Winters and returns to his apartment, blocking out the hideous act. O'Brien, an enterprising publicity agent for the play, picks up on the strangulation and tries to link the murder with
the play to entice audiences. This blatant sensationalism causes Colman to explode; he attacks O'Brien, who now believes the actor is mad. O'Brien sets up Colman for the police, arranging for a waitress who is almost Winters's twin to wait on him in a restaurant. Her appearance so alarms Colman
that police are convinced he is the killer. Detectives decide to arrest him following the final performance of "Othello." The actor realizes he is exposed and the tragedy takes its final turn.
Colman's performance is riveting and deservedly won him an Oscar, as well as universal applause from critics and public alike. His genteel manners and mellifluous voice set up audiences for a huge shock when Colman turns into a lethal lunatic, a transformation that is simply amazing to witness. He
is a man obsessed, one who can no longer differentiate between his theatrical and everyday personalities. Colman is mesmerizing, brilliant, and even horrific in his role. Kanin and Gordon's script is both literate and packed with suspense, interweaving the dialogue of classical theater and that of
the street. Cukor's direction is as properly mannered and carefully constructed as the script is, and he draws the complex portrayal out of Colman with great care.
This was Winters' first film break after stage appearances and it established her as a movie star. Harry Cohn, head of Columbia Studios, originally bought the script for A DOUBLE LIFE years earlier but later reneged, refusing to pay for it or produce it. Kanin was so angry that he vowed never to
talk to Cohn again. He would take his vengeance on a literary level, using Cohn as the role model for the brutish Broderick Crawford part in BORN YESTERDAY. leave a comment
