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18 THE usr 17—241 Aug 20-00
Audacious, experimental split-screen digital feature
Time Code (18) 97 mins it
Another audacrous, experimental feature from director Mike Figgis, interweaving four improwsed st0ries shot in real time and protected on to a splzt-screen simultaneously. The characters lives C'lSS'ClOSS in time and space as they enter and leave different locations, inter-act face-to-face or on the phone, and slowly converge upon the office of indie film production company Red Mullet Inc. Here, a tyrann cal director is in the f.nal stages of casting hrs new mowe, his panic exacerbated by sooradic seismic tremors and variOus Red Mullet staff trying to cooe With their own personal and professional upheavals.
Havmg captured the semi-mprowsed performances on hand-held digital cameras, Figgis slyly directs Our attention by onnging up the sOurd level
Me. Myself, I (1 mins ‘l\‘ ‘l\\\:‘ "ill" it"
L.fe's path wOuld be easy if it was a stra.g‘nt road Without crossroads. Unfortunately it’s not, and as Pamela Drury (Rachel GriffithSi real:ses at thirtysomething, she may have headed down the wrong path. Hit With the overwhelming feeling that she ;eft love and nappiness behind when she turned down Mr Right at a Juncture tnirteen years ear‘ier, she hits CFiSiS point. All's not iost however when she magically collides wrth the Pamela who did marry Robert all those years ago, her alternat:ve sel‘. From inner city ’singievnle' Parnela One’s life in her newly purchased apartment, complete with cigarette butts, half-empty paint pots and VesuVius-style bed sheets is abrupt'y nalted when Pamela Two vanishes, leavmg her to take her role in Suburba Wit.h husband, three kids and a dog.
As Pamela, Griffiths brilliantly captures the humour, tenderness and poignancy o‘ director Pip Karmel's insp-red scnpt Despite the film's re‘iatively serious undertone about the futility of regret — Pamela realises eventually tnat the paths she Chose for her own life are steeped in potential — Me, Myself, / is a feelgood move, an upbeat comedy about oneself,
It's not difficult to empathise and easy to laugn as Pamela fights to get a d aphragm — the only ‘orrr o‘
in the quadrant where the most salient emotIOnai revelations or confrontations are OCCurrzng (Figgis came to Scotland to perform a live mix for the recent Edinburgh International Frlm Festival screeningi. Jeanne Tripplehorn eavesdrops on her lover, Salma Hayek, an aSpiring actress involved in a mercenary affair With the company's emotionally disintegrating co-founder Stellan Skarsgard. Meanwhile, Skarsgard’s damaged ex-partner, Saffron Burrows, leaves her shrink's office and meanders across town to confront him. On a .ighter note, Julian Sands' comic turn as a per.patetic New Age masseuse is perfectly pitched. lntellectually inVigorat ng, technol0gically bold and — perhaps most Surprisingly given the technical nature of the proiect — always emotionally mvolvmg. (Nigel Floyd;
i\\\\\\l G/asgow: GFT from Fri 78 Aug. See preview.
Despite the serious undertone, Me, Myself, I is an upbeat comedy about oneself
c0ntraception availabie in Pamela Two's house — under control, deal With her 'new' daughter's tampon insertion problems, and persoade ner young son to \le8 his own bottom. Meanwhile, the new turn of events fOrces husband Robert i'DaVid Roberts‘i, a successful rnrddle class architect, to deal w:th hrs own demons, having become selfish and negligent towards his wife.
While the idea of meeting a clone of yOurself and stepping into their shoes may be a little far-fetched, it does beg an interesting question: what if the past had been di‘ferent? Turns Out it's a question best left unanswered. because, as Pamela demonstrates, you never know what might have been. Ideals can be a far cry from reality, down a different road in fact, iPipoa Wright)
i\\\\\\\l Genera/ release from Fri 78 Aug.