I watched Richard Ayoade's 'The Double' last weekend and it's been stuck in my head ever since. Does anyone have any theories as to what. Ayoade's version of “The Double” is set in a punishing bureaucratic . that they have this exact doppelgänger but it ends up not being like him. Richard Ayoade's The Double: Film Review and Q&A Excerpts from the BFI .. as in terms of self-definition as a relationship with someone else. I ended up re- watching the movie and writing a pretty in-depth article about it.
Well here's my theory, obviously in this theory Simon is schizophrenic. Simon basically sees whatever his mind wants him to see. I think maybe Simon isn't Simon at all noticed someone commented saying that someone referred to "Simon" as Stanley. I think that occasionally Simon sees or hears a glimpse of reality but it doesn't register with him.
So most things he sees and hears are mostly a distortion of his reality. Maybe James is just some random person that Simon works with. Plus he only talked to one co-worker about the new person James and was nonchalant about it and was pretty much like "yeah I guess he kind of looks like you". Like I said before most of what Simon heard and saw probably wasn't even happening over half the time, therefor even may have even had a conflicting view of his actual self.
Almost like an identity crisis.
The Double will stay in your mind, like a bit of food caught in a tooth | The Spectator
Golyadkin believes that Klara Olsufyevna embodies a spirit of beauty and truth that the men around her have rejected, and even imagines that he receives a letter from her offering to elope together from a society that is inherently false. The narrator admits his inability to capture the beauty of the high society ladies and the brilliance of the young men: Similarly ironic is the description of idealized masculinity that follows: Mikhail Bakhtin discussed the power of parodic language in The Double, but does not consider its relationship to gender.
Ayoade uses a similar technique of parody to reveal the constructed nature of masculinity. His parody proves more immediately accessible to a twenty-first century audience, as it draws on familiar markers of masculinity.
The Double will stay in your mind, like a bit of food caught in a tooth
The hero disposes of his enemies with appropriately virile one-liners that recall the best—or the worst—of Hollywood action movies: Or do you want to die on your knees, like a snake?
Ayoade thus ensures his audience takes a critical view not only of the construction of masculinity in his dystopian society, but also positions his own film as a critique of the hypermasculinity that Hollywood blockbusters have often championed. To put it another way, as a subject he is required to negotiate between two different myths of masculinity: Simon, then, is caught between two incompatible poles of masculinity. It is no coincidence that James first appears after Simon has finished viewing an episode of The Replicator, or that James possesses the idealized masculinity that part of Simon has always longed for.
The Double – Richard Ayoade and the Dostoevsky Dystopia. (Film Review) | Lisa Thatcher
James exudes self-confidence, easily scores success with women, and quickly gains promotion to senior executive at work. The difference between Golyadkin Sr. The fact that the two Golyadkins are identical in appearance, but yet come to sit on different ends of the masculine hierarchy reveals the arbitrary and even absurd nature of how masculinity operates.
Ayoade, using the medium of film, can capitalize on this idea even more than Dostoevsky. In his movie, Jesse Eisenberg plays the roles of both the bashful Simon and the brash James, and much comedy derives from the sharply differing attitudes that the two identical men elicit.
As Michael DeAngelis notes, the two men in a Hollywood bromance must explicitly deny any romantic or sexual interest in one another. Yet all too soon, Golyadkin Sr.
In the novella, Golyadkin Sr. The colours are black, grey and brown. There is no natural daylight, ever.
Gender Trouble in The Double: Masculinity in Dostoevsky’s Novella and Ayoade’s Film
The soundtrack is cello, the dark end of the piano, high winds, the rumble of oncoming trains. It may be the joylessless of depression, externalised. So this is where Simon is at when, one day, he arrives at work — an Orwellian place of stifling tedium and repetition — and discovers he has a new colleague, James Simon also played by Eisenbergwho is his exact physical double.
James is everything Simon has ever longed to be: He impresses his bosses without even having any understanding of the work.