A doctor reviews his files on a psychiatric patient, Malcolm
Rivers (Pruitt Taylor Vince). Rivers is about to be executed for murdering
six people even though he suffers from multiple personality disorder and
has no memory of the event, and the doctor is hoping to win him an eleventh
hour reprieve by proving diminished responsibility on the grounds of insanity.
Meanwhile, a sequence of incredible coincidences and accidents leads a
group of ten people to be stranded together in a rainstorm at an isolated
motel. As the guests are killed one by one in highly unusual circumstances,
and the bodies mysteriously disappear, the confused survivors struggle
to work out what it is that connects their identities and fates before
it is too late.
Director James Mangold ('Heavy', 'CopLand', 'Girl, Interrupted') has
assembled a stellar cast, including John Cusack, Ray Liotta, Alfred Molina,
and the ever dependable Amanda Peet (seen most recently in 'Igby Goes
Down'); and he knows how to ratchet up the tension, making all involved
look as though they are harbouring some dark secret, and even transforming
the rain itself into a brooding, malevolent force.
The primary inspiration for 'Identity' is 'Psycho', and like Hitchcock's
film, here too there is a thief on the run who seeks refuge from the rain
in a motel, there is a creepy hotel manager, and the first person to die
is wrapped in a shower curtain. Indeed all the tropes which make up 'Identity'-
a group of mismatched characters forced together by circumstance, a murderous
traitor in their midst, a Native American burial ground, baroque deaths
- have been seen before in countless horror films, slash-and-dashers and
Dario Argento-style 'gialli', making 'Identity' seem as old school as
thrillers come.
Yet Mangold gets the sheer number of both his influences and his characters
to confuse and distract the viewer, rather than give the game away; and
although it is possible to work out which of the ten was the guilty party
long before the conclusion, the central twist which unifies all the film's
elements is so ingenious and unusual that recognising the killer ends
up being just one small part of this film's multi-faceted identity.
Anton Bitel, 17.06.03
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