Splice, 2010.
Directed by Vincenzo Natali.
Starring Adrien Brody, Sarah Polley and Delphine Chanéac.
SYNOPSIS:
Brilliant genetic scientists Clive (Adrien Brody) and Elsa (Sarah Polley) splice animal DNA together to create hybrids in search of a specific protein. Wanting to add human DNA, but forbidden by their funding pharmaceutical company, they secretly create Dren, an animal-human hybrid who wildly exceeds their expectations.
[Warning… here be spoilers]
Splice starts out promisingly enough, with scientist couple Clive and Elsa breaking the rules both of their funding company and society itself, creating an animal / human mutant hybrid, raising ethical issues such as moral responsibility. Right from Dren’s birth the characters are bickering, Elsa adopting a motherly stance while Clive is on edge, constantly in fear of the company finding out while worrying about Elsa’s personal safety. Although both Adrien Brody and Sarah Polley are accomplished actors, their on-screen chemistry is rather wooden. But as the film progresses, clunky dialogue and some poor directing seem to be to blame, not the actors themselves. Exchanges between the pair and other minor characters are frequently disjointed, sometimes even despairingly awkward, jarring you from the narrative. Certain key character developments, such as when Clive tries to drown the fevered Dren, which leads her to use her gills and breath underwater, are supposed to illustrate Clive crossing over into murder and develop a mistrust between the couple, but the interaction between them directly afterwards is so heavy handed and screamingly obvious that it simply frustrates. A later scene in which Clive is seduced by Dren, is so appalling handled that it’s hilarious, including misty, soft-focus lens close ups of the two gazing longingly into each other’s eyes while they’re dancing and spinning, leaving the entire audience in stitches.
Having said that though, some scenes are directed wonderfully, such as the press conference when the pharmaceutical company shows off Clive & Elsa’s animal hybrids. Former mates, the female has become a male, and they gruesomely destroy each other, smashing the glass cage containing them, showering the horrified assembly of journalists with blood and broken glass. Reminiscent of David Cronenberg in his body-horror glory days, this scene is absolutely pitch-perfect in its horror and black-humour.
The first and second acts, while having some glaring flaws, do actually fair well, thanks to the plotting and ethical questions it sets up, which we hope will be addressed further in the third act. Unfortunately, the third act is where the film really loses its footing and becomes a complete mess. Unsure of the direction it wants to take, the film develops a twisted, moral drama, then abandons it in favour of Dren turning on Clive & Elsa, growing wings, becoming male (like the animal hybrids, a reveal I did feel was rather well done), killing Clive, his brother & their boss and raping Elsa. Unfortunately by this point, we have so little emotional investment in the characters that the film’s descent into standard horror territory feels unnecessary and uninspired, a product of either lazy writing or indecisive direction.
As mentioned before, the scene when Clive becomes attracted to Dren is unfortunately comical, but its nothing compared to when he goes back to check on her and they wind up having sex. Absolutely cringe-worthy, both for Clive’s character and for the ludicrous way its handled, Elsa walks in on them and is naturally, horrified. Afterwards, Clive goes to Elsa to attempt to explain himself, but its so funny considering the events that you can’t help but laugh. I mean, what do you really say after you’ve done something like cheat on your girlfriend with the mutant-hybrid you both illegally created? The scene is ripe for internet parody, either of the Mystery Science Theatre 3000 variety or Youtube voice re-dubs for Clive.
It’d be fine if this was just a bad movie, I love bad films! If it fell into the so-bad-it’s-great category, It’d be very enjoyable. But the film is hugely frustrating because there’s almost as many elements the film-makers get right as they get wrong. The premise of the film is excellent and could have yielded a thoughtful, intelligent and disturbing piece of work, and scenes such as the aforementioned press conference scene demonstrate competency and directorial skill, but the mess of a third act, clunky dialogue and some woeful handling of important character development scenes sabotage the smart, ethical tone the film is attempting. The film could have been superb had it been handed to a director like Cronenberg, who could have soaked the film in his trademark unease and threatening tone, rendering even the films more ludicrous scenes believable and powerful. Sadly though, as it is Splice stands as a wasted opportunity.
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