Based on actual events, The Devil’s Double recounts the remarkable tale of Latif Yahia, an Iraqi army lieutenant who was summoned to Saddam Hussein’s palace in 1987 and ordered to become the fiday, or body double, of his notorious eldest son, Uday. Many of his countrymen might have considered this a great honor, but it was merely the beginning of a hellish nightmare for Latif. Under the constant threat of harm to his family, he had no choice but to play the role of silent witness while his nefarious captor indulged in countless brutal and depraved fantasies with no regard for human life.
In a brilliant turn, Dominic Cooper portrays both Uday and Latif with impressive ease, transitioning seamlessly between the personae of ruthless madman and disgusted observer. Director Lee Tamahori (Once Were Warriors) makes his return to the Sundance Film Festival with this unimaginable true story straight from Saddam’s Iraq. –Sundance Film Festival
Shattering international audiences with Once Were Warriors (1994), his intensely scrutinizing study in urban alienation among the indigenous Maori people of New Zealand, director Lee Tamahori was immediately courted by Hollywood. As with other successful overseas directors flirting with the almost mythological draw of the cinematic city, Tamahori’s struggle to maintain his intensely personal style in the face of the increasingly difficult obstacles of the intrusive studio system serves as an interesting parallel to the struggle faced by the disillusioned and industrialized Maori people portrayed in Warriors.
Born to a Maori father and a British mother, Tamahori cut his teeth in the New Zealand film-industry as a boom operator in the late ‘70s, moving on to assistant director on such features as Maori-themed Utu (1983) and The Quiet Earth (1985) in the early ’80s. Tamahori would go on to become a successful director of commercials before discovering Alan Duff’s raw and controversial… read more
It's not a great movie, (it's not a bad one either), but it's got a great dual performance from Dominic Cooper.
Dominic Cooper is very good here but is unable to compensate for what is really a down and dirty 80's style exploitation flick. It often seems like they were trying to match the brilliance of De Palma's 'Scarface' but instead wind up with a Bronson or Van Damme straight to video style clunker. Ludivine Sagnier is woefully miscast here and Mr. Tamahori unfortuantely continues his downward slide. Disappointing.
After the feast of design from the 1920s and 30s over the past two weeks I thought it was time to return to the present and look at a few of