Brand New Stills From ENEMY – 2014 Most Anticipated Film
and a couple of behind the scenes shots (Jake on a bike, people).
Enemy’s release in Spain has been pushed forward to March 28, after the US release
(set your clocks, it’s March 14)
Two months to go, two months too many.
Maybe it’s because Saramago’s novel ‘The Double’ was already among my favorite books, or because the film is almost entirely on Jake’s shoulders or maybe because it’s so dark and disquieting, or because many say its ending is terrifying and confusing (a “mindfuck”) and it stays with you long after you’ve left the theater, whatever it is, I can’t wait to see it.
Jake received unanimous praise for his interpretation of both characters and I guess this counts as just one more reason for this to be my 2014 Most Anticipated Film.
Speaking of praise, here’s what must be one of Jake’s work in Prisoners most enthusiastic review. It’s from the FILMAKER, and I’m sharing it here so I can forget about the Oscars snub. Prisoners deserved more than just one nomination (for Best Cinematography, which is better than nothing anyway so congrats to Roger A. Deakins).
“Gyllenhaal shows us almost less than the script tells us, but in doing so, he shows us a lot. A slight eye tick betrays his hardness and tattoos. Every time he really needs to look tough, that damn eye tick acts up, revealing the little kid who’s still hurt and scared.”
His face juts forward in front of his body, and his huge eyes seem to blast forward in front of his face. But instead of this becoming some kind of Martian intensity, it is qualified, always, made earthbound, by his eyelids, which he has no control over. Which seem to say, “there’s a big part of me that just wants to go to sleep, please.”
Although there is some of the minimalist concentration of former screen detectives, like Steve McQueen’s Bullitt, Gyllenhaal’s cop is not cool. He speaks in goody two shoes police vernacular — “I need you to calm down, ma’am, and let me do my job” — and he’s an anal retentive, buttoned-up, freshly cut control freak. One does not get the feeling that some righteous overall moral justice guides this man. It’s more like a guy with PTSD and OCD just trying to take care of what comes before him. Trying to not add more misery to his life and the life of others.
Of course, that’s part of what makes the character such a great hero, and it’s part of what makes Gyllenhaal’s performance so great. He doesn’t know he’s a hero. He’s just doing his job. He doesn’t know that he needs to save these kids with all his heart; he’s just doing his job. And Gyllenhaal does not play him as a hero.
Gyllenhaal’s detective has no choice but to enter into Brothers Grimm territory. To find the kids, he must first find the kidnapper. He can’t just be an upstanding citizen, he has to go down into the basement. His prim and proper cop can only get him so far on the case. Then he needs his shadow. All the things he’s put away in the bag.
We watch Gyllenhall hesitantly go from his brain to his guts, watch him become emotionally involved despite his armor, watch him go into the woods to face the demons. He doesn’t transform from one person to another. At the end of the movie, he has the same weary, jaded circumspect mask on that he had in the beginning. But there’s the slightest flicker, in the last scene, of something just a little bit different about him. Something alive again, that had been buried. It’s just the slightest flicker though. We hardly notice it at all.”
Jake and Denis Villeneuve cover the next issue of the magazine and I can’t wait to read the new interview.