enemy free movie online free download enemy movie free enemy movie enemy movie 2013 free download
Title :Enemy (2013)
Release : 14 March 2014 (Canada)
Writers: José Saramago
Genre :Mystery, Thriller
Stars :Jake Gyllenhaal, Mélanie Laurent, Sarah Gadon
enemy free movie online
Enemy (2013) trailer
Enemy (2013) review
Plunging Toronto into a mix of piss and pea soup, the psychological drama Enemy trudges through the murky environment to uncover the spark at the heart of the 21st century man. Jake Gyllenhaal stars in a double role: Adam, a history teacher that’s stuck in the amber mud, and Anthony, a budding actor comprised of pure id. They’re identical, but not biological twins, existing in the same metropolis like co-orbital planets. The revelation of his “other” blindsides Adam. He becomes obsessed with finding answers. What he discovers isn’t logical; As director Denis Villeneuve (Prisoners) peels back the layers of Enemy, reality becomes clouded, what “is” and “isn’t” is less important than the gut feelings induced by his artsy thriller. Like Zodiac’s metaphysical cousin, Enemy is a creepy, dense, and methodical mystery of the mind.
The opening sequence of Enemy, based on a novel by José Saramago, tips us off: We’re not in Kansas anymore. A version of Jake Gyllenhaal (which one it is becomes clearer as Enemy unravels) strolls through a secret societal sex club to behold the ritualistic crushing of a tarantula by a woman’s pointy heel. Cutting into the sequence are shots of a pregnant woman, who we later learn is Anthony’s wife Helen (Sarah Godon). There’s no obvious symbolic value to the collection of bold imagery. There doesn’t need to be. Villeneuve plants the seeds, stokes our imaginations, and propels forward, allowing to the audience to trace its own lines as Adam’s story picks up.
Enemy’s heightened, dreamlike environment allows Gyllenhaal to take full advantage of his physical presence (as opposed to, say, the suffocating, melodramatic reality of Prisoners). He swings back and forth between Adam and Anthony like a pendulum. Adam’s a sad sack stuck in the monotony of lesson plans. His home-life is grading papers, making love to his beautiful girlfriend Mary (Inglourious Basterds’ Mélanie Laurent), and falling asleep. He dreams of spiders. He has no direction. When a coworker recommends he checks out a new film on DVD, he shrugs. “I don’t watch movies.” But his coworker insists. Adam picks up the disc, plops it in his laptop, and suddenly his life is thrown into chaos. There’s Anthony, a mirror image, standing in the background.
For awhile, Enemy pretends it’s selling itself as a typical detective story, Adam sniffing out leads and plotting his introduction to Anthony as a decelerated, Bernard Herrmann-esque score amplifies the eeriness of the situation. Villeneuve’s camerawork — steady, composed, and spine-tingling — is a visual slow burn. When these two guys meet, it’s all going to make sense. But when Adam finally corners his identical match, Enemy is only getting started. The gravitational force grows to catastrophic levels. Anthony becomes equally obsessed with Adam. Collision is inevitable. Or maybe they were never separate to begin with. When Adam interrogates his mother (Isabella Rossellini) over the possibility of a missing twin, she starts describing the habits and particulars of Anthony. Who are these men? Neither will stop until they have that answer. Even at the cost of the other.
The release of Enemy is perfectly timed with the conclusion of True Detective, another examination of masculinity, philosophy, and obsession (albeit one in the grand context of the cosmos). Villeneuve’s lens is a microscope, his characters proxies of the swirling sentiments of the subconscious. Visual clues remind us not to take Adam and Anthony’s tango too literally: Behind the latter half’s apartment building, we’re given glimpses of two identical high rises; the spider pervades both Adam’s dreams and “the real world,” one pane of glass shattering into a web; and late in the game, the brothers from other mothers try to fool their wives by switching places — but was Adam always the one wearing the wedding ring? Solid resolutions aren’t handed them on a silver platter, but the lingering effects of Enemy keep the questions and epiphanies coming well after the credits.
Gyllenhaal, a Hitchcock lead that missed the Golden Era, is up to the task of turning observation and a dissolving mental state into high-stakes entertainment. Though we know the magic of technology is allowing the actor to play off himself, the fragile Gyllenhaal is sparring with a vicious personality. When they become entangled, it’s like Gyllenhaal shaking up a bottle of vinegar and oil, globules of one part floating within the other. Godon and Laurent compete with him, but remain mostly on the sidelines. That’s the fault of Adam and Anthony, their tunnel vision definition of manhood, sculpted by the media (no wonder he didn’t watch movies), restricts females to sex and reproduction.
“Chaos is order yet undeciphered” reads Enemy’s title card prelude. What appears as the implosion of two men could be the development of one. There are times when the momentum tapers off, Enemy drifting too far into the opaque, but tethering the two men means we’re always being whipped back when the line is taut. Enemy never loses itself in its navel. Villeneuve throws meaty clues for us chew on, his direction amplifying the thematic boil while keeping us on the edge of our seats. Anything goes in the dream world, even when the men dreaming are losing control.