(1994)
3.5
Perry Seibert
Suture feels like a collaboration between Patricia Highsmith and Alfred Hitchcock, filtered through Jean-Paul Sartre and Chris Marker. While the filmmakers would probably take that as a compliment, many viewers may be turned off by the pretentious trappings of an otherwise old-fashioned identity-switch story. Suture certainly has a fabulous look. The black-and-white cinematography helps sell the theme of the fluidity of personal identity, as does the casting of a white actor and a black actor as look-alike half brothers. The fault in the screenplay is that Suture puts forth as text what Hitchcock and Highsmith in Strangers on a Train kept as subtext. Not for a minute do these characters seem like real people, and the film ends up playing more like a Philosophy 101 lecture than as a satisfying thriller. This same problem would occur again in the next film made by co-directors Scott McGehee and David Siegel, The Deep End. The duo have a great eye, and they get good work from actors, but Suture leaves the viewer with the feeling that it is something less than the sum of its parts.
releases for Suture on AllMovie
Suture (1994)
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Suture
MGM
More
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January 23, 2001 |
