into the mirror
by Douglas Messerli
Tim Wardle (screenplay, with the help of
Lawrence Wright; and director) Three
Identical Strangers / 2018
The director of the 2018 documentary Three Identical Strangers, Tim Wardle
has encouraged critics not to reveal the ending (or even the second-half) of
his film about the triplets who suddenly discovered, at age 19, the identities
of one another. Yet, I’d argue that it might be better to know the second half
of the film without knowing the early, rom-com, part. In a sense, it is like
asking one to read Heart of Darkness
without knowing that things go bad for Kurz and other Belgian occupiers in the
Congo, which misses, perhaps, the very reason one might wish to read that book,
or, in this case, take a visit to your local movie theater to see this
remarkable piece of filmmaking.
If you don’t want to know anything about this movie before seeing it,
please feel free to skip this review. It has never bothered me to know as much
as I can about a film before seeing it so that I might better comprehend and
enjoy its images.
As
the many critics writing on this film have revealed is the wonderful accidental
encounter by Robert Shafran, a 19-year-old freshman at Sullivan County
Community College in upstate New York, of a series of people who greeted him
with great enthusiasm, pats on the back, and even kisses on his very first day
on campus. That alone might have made anyone suspicious something was amiss,
but the fact that many also called him Eddy might have made any of us feel we were
in a slightly surreal experience. When he finally met his dorm room mate—who,
recognizing that Eddy (Galland) had previously determined to not return to
campus and was slightly different from his new roommate—asked Robert whether he
was a twin, the news might have set off shocks of incredulity to the new
freshman. We never discover in this film why the evidently popular Eddy had
decided not to return to the community college or how Robert had determined to
attend the
Discovering that they not only shared the same birthday, the same
adoption center, and many of the very same habits, newspapers, particularly Newsday, quickly glommed onto the news
item, much to the delight of the sudden discovered twins. Meanwhile, as their
stories and pictures begin to appear in local papers, another young freshman at
Queen’s college in 1980 saw himself in the pictures that he witnessed and,
particularly, after confirmation from his mother and his proud father,
nicknamed “Bubbalah,” he too called the media, suddenly the
long-lost twins becoming triplets.
The euphoria of the discovery of two other versions of yourself swept up
the three boys into a new world of self-love, propelling them almost
immediately into, as an aunt describes it, a world in which the 3 former
wrestlers joined one another of the floor in a kind a roll-around that she
describes as a somewhat like “puppies.” The three, Eddy, Bob, and Dave hit all
the talk shows, dressing alike, talking alike, and interrupting each other’s
comments while commenting on their shared interests in the same kind of women,
Marlboro cigarettes, and taste in color. There had been numerous other pieces
on how rediscovered twins or even those knowledgeable of their kinship, shared
conversational habits, patterns of thought, and tastes, and these triplets simply
fueled that concept, as newspeople promoted their similarities as opposed to
questioning their differences. As they later assert, we wanted and were
encouraged to show how much we were like one another without anyone asking
anything else.
If
the adopted families grew angry for not having been assessed of the fraternal
relationship of their beloved sons, the triplets themselves moved in together
in a bachelor apartment, showed up at nights in many 1980’s bars and dancing
clubs, and even appeared in a Madonna movie. You might say they became enamored
to their own triplicate identities. How might anyone not have been: you who
were alone most of your life, and who, in this case of all three, sensed
something missing in those years, acting out hostility in their early teen
years. The trio even opened up their own SoHo restaurant, Triplets, serving up
steaks and dancing with their customers each night. In the first year they made
more than a million dollars.
If
it’s delight to see these smilingly toothy, pudgy fingered, curly-haired boys
in their early encounters, things soon begin to fray. Each of them found women
whom they married, not, as they had previously argued, all similar in type.
Eddy, who fought hard to keep the families they created together, was
devastated when his brother Robert left the business, unable to work
successfully with the other two. And, although David remained close to Eddy,
living across the street, he could not stop his brother’s eventual suicide.
Darker elements had existed in all our lives which involved a sense of
abandonment, and later, of having been forced to live a life over which they
had had no control.
When the Pulitzer Prize-winning author Lawrence Wright (The Looming Tower, Going Clear) began to write about “twins” in the late 1990s, he
discovered a great deal of information that suggested that the triplets and
several twins had been intentionally separated from their birth mothers by late
child psychiatrist Peter Neubauer, an Austrian Jew who had fled the Holocaust,
using the Jewish Louise Wise Agency. The experiment, which might have been
interesting had all parties been alerted to its existence, was an attempt to
determine the difference between nature vs. nurture.
If
Wardle’s film begins rather solidly on the side of nature—these guys, after
all, seemed at first to be so very alike that only nature could have explained
it—we gradually come to perceive that perhaps their upbringing did make an
enormous difference. Robert admits that too had had suicidal thoughts, but that
he couldn’t bring himself to carry them out. David, although stunned by events,
seems rather blessed by having the beloved “Bubbalah,” as his father. Perhaps
wealth and permission are not the things that most sustain an individual this
film suggests. Just a daily hug might make all the difference.
Yet, the even darker story of a purpose experiment on human beings, the
findings of which will never be published and whose files cannot even be opened
in 2066, are the most sinister elements of this tale. Why can’t the overseeing
Jewish Federation open those Yale files, or why won’t Yale themselves admit
that they might be opened? One of Neubauer’s unwitting confederates perhaps
says it best. Those twins who don’t know about each other may be better off,
without being torn apart by the news that these triplets had to endure. If the
actions of those with whom they worked were indeed corrupt, cynical, and even
inexcusable, the pain these three brothers had to endure by the discovery of
the truth might not be worth it. Yet, at least the two remaining brothers now
know one another, and speak out strongly about the truth; and that is the
undeniable power of Wardle’s film.
Los Angeles, July 5, 2018
Reprinted from World Cinema Review (July 2018).
No comments:
Post a Comment