In our first glimpses of Charly, she is frighteningly vicious and unruly even, with bleach-blonde hair and eye makeup that looks like war paint. Samantha and her other half - the irascible contract killer known as Charly Baltimore - are presented initially as dueling personalities, competing for control over the same body.
While in The Long Kiss Goodnight Samantha is not afflicted with the exact same problem, the internal disassociation generated by her amnesia and the subsequent remembrance shape the course of events in an equally disturbing and powerful manner. The history of cinema is replete with characters of split personalities and other psychological disorders and follies, from The Three Faces of Eve (1957) to Sybil (1976), and later, Fight Club (1999) which not only depicts dissociative disorder but demonstrates how one’s multiple personalities reveal the latent complexity of the character as a whole. Only now, she doesn’t have much of a choice: she has to figure it out fast, because the clock is ticking and her dark past is about to determine the outcome of her future. With the help of a private eye (Samuel Jackson) - the cheapest one her money can buy - she hopes to finally learn just who that woman was that she kissed goodnight all those years ago. Is she just another mousy, small-town schoolteacher and mother who heads the PTA or was she once another kind of woman entirely? For eight long years, Samantha (Geena Davis) has wondered this every time she looks in the mirror and sees a body riddled with scars she doesn’t remember getting. Who is the real Samantha Caine? It’s the question that looms over The Long Kiss Goodnight, the 1996 shoot-em-up written by Shane Black and directed by Renny Harlin.
0 kommentar(er)
