Drama / Thriller

Rotten Tomatoes Critics - Certified Fresh 71%
Rotten Tomatoes Audience - Upright 70%
IMDb Rating 6.6 10 1867

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Uploaded By: FREEMAN
September 14, 2021 at 02:45 AM



Sab Shimono as Dr. Max Shinoda
Fran Ryan as Mrs. Lucerne
Dina Merrill as Alice Jameson
Sandra Ellis Lafferty as Nurse Stevens
720p.BLU 1080p.BLU
881.36 MB
English 2.0
23.976 fps
1 hr 36 min
P/S counting...
1.6 GB
English 2.0
23.976 fps
1 hr 36 min
P/S counting...

Movie Reviews

Reviewed by The_Movie_Cat 7 / 10

"As you pointed out, our physical resemblance is striking"

Suture ("a sewing together" according to my dictionary) has to be one of the cleverest films I have ever seen.

Definitely not to everyone's taste, it concerns two half-brothers Clay (Dennis Haysbert) and Vincent (Michael Harris) who meet up after their father's funeral. Clay is a poor construction worker whom the rich Vincent plans to kill. The idea is that Vincent is on the run for murder and he attempts to kill his half-brother in a car bomb explosion, planted with his identity so that he will be free to continue his life without harassment, the authorities believing Vincent Towers to be dead. Unfortunately for Vincent, his brother survives, and, an amnesiac, assumes his life and identity.

If all this sounds quite good, then you have to remember that Dennis Haysbert is black and Michael Harris is white, and they have no physical resemblance whatsoever. I've seen this film trashed even by professional critics, such as the British magazine writer David Quinlan who bemoaned that `no one seems to notice'. Of course, the very fact that no one seems to notice IS the point. If I were honest, I wouldn't state for certain that I know what message the film is trying to purport. In fact, so confused was I by it, that I took the unprecedented measure of reading the other user comments before I wrote mine. I normally avoid this practise to avoid unconsciously stealing another's words, but I had to get some fix, some general consensus as to what it's all about. Some interesting theories abound, including one very good point about the two being `Yin and Yang', explaining the black and white filming. (And in delightful cinemascope too!) It is suggested that race is not an issue in this film, though I feel the scene where Clay's plastic surgeon describes his face in Caucasian terms (`Roman nose… thin lips… straight hair') is a definite reference.

In fact, the film emerges as a search for the nature of identity, as well as the nature of racial perception. Of course, you could argue that what is a straightforward plot, doubtlessly tried many times before, is merely propped up by gimmickry. And occasionally the film does over-crank it's tools, such as the glorious moment when Clay is listening to Johnny Cash singing "Ring of Fire", turned down, so it's almost subliminal, before he himself is consumed by such a ring. However, this sublime moment is gatecrashed by Clay's trolley-dash to hospital being punctuated by a full-blast rendition of the same song by Tom Jones. This does, though, act as a nice coda to the piece much later, just as the prelude is effective. The idea that you could steal another man's life and possessions, even his face but never be able to become that man acts as the central thread. As you can see from this outline, it all becomes very complex and heavy going, though it's told in a slight, minimalist fashion so you never end up with too much of a headache. What makes this film worthy of a `7', even if you don't like the basic concept and theme, is the execution. Using excellent direction, which often consists of arial shots, not one scene is given over to bog-standard point-and-shoot techniques, where the camera is merely dumped in front of the actors and left to roll while the director goes off for a sandwich. (And this is no place to bring up The Phantom Menace). Especially worthy of note are the dream sequences, and the recovered memory sequences, which are starch and fuzzy like a damaged television screen. Also outstanding are the initial scenes that showcase the climax-to-be, where the two brothers must ultimately confront one another. Haysbert's dark skin contrasted with the pure white of the bathroom as the camera looks down upon him holding a rifle in a straight line ahead is a perfectly captured image. Also worthy is the off-beat acting style, very evocative of Soviet cinema in the sixties, the deliberately off-kilter and underplayed performances giving it all a continental air. For the sheer basic conceit of it's plot I would recommend anyone see this film. It is a testament to the fact that real talent in cinema often gets buried. The writer-directors have done little work since, this film making less than $200,000 in it's own country. Meanwhile the creators of production line cinema have mountainfuls of projects lined up for them with increasing regularity. A great shame.

Reviewed by kemicon 9 / 10

A classic overlooked

A few years ago a friend and I were picking out a movie to watch. Since we had seen just about everything we decided to give this movie a try. The film ended up being a huge surprise to us, clever, well shot and nicely paced, with strong acting. This film is overflowing with Hitchcock style themes and also has a 1960s Twilight Zone feel to it. This was also the first time I have seen Dennis Haysbert (24, All State Commercials) in a film and he does a fantastic job. Some of the compositions and the overall cinematography are also handled with skill with some shots being smartly composed. What really made a lasting impression was the way the film handles reality, and the reality that the camera sees. Don't let the silly title and the black and white film stock keep you away from this unique movie.

Reviewed by kirbylee70-599-526179 9 / 10

Great If You Can Suspend Belief

I can remember the first time I saw this movie. I was watching and providing ratings part time for Joe Bob Briggs' newsletter. A box of VHS tapes would show, you'd watch them, send ratings and then pass them on to the next person. Watching this film at that time I didn't get it. It made no sense to me. A black man and a white man identical to one another? And yet it works now.

Two brothers, Vincent (Michael Harris) and Clay (Dennis Haysbert) meet at their father's funeral and are stunned at how near identical they look to one another. While Vincent has lived a life of wealth around his father Clay has been poor with less interaction. Vincent invites Clay to stay with him and he thinks things are looking up. Except that in reality Vincent intends to shoot kill Clay and leave his body behind to make everyone think he is dead.

Shot in the face, Clay survives the murder attempt. Dealing with amnesia Clay has had his features restored by Dr. Renee Descartes (Mel Harris). As he pieces together the remnants of his memory Clay is now mistaken for Vincent. Few have any idea that Clay actually existed. To complicate matters "Vincent" is the lead suspect in the murder of his father by Lieutenant Weismann (David Graf). As Clay slowly begins to put back together the memories of who he was he is faced with a question: does he go back to being poor Clay or does he take on the mantle of wealthy Vincent? And if so, what of the real Vincent? As I said when I first saw this I didn't get why anyone would think that Haysbert, a black actor, would think he looked identical to Harris, a white actor. The two look nothing alike. But this time around as I watched I saw the method to the madness. If you suspend belief and accept that these two are identical then everything falls into place. It is the concept that we, as an audience, are watching actors in roles rather than reality that sets their differences aside and allows us to accept them as the characters they are playing. Once you get past that then the story becomes a fascinating mystery.

Arrow Video has outdone themselves this time with a 4k restoration from the original camera negative. The presentation, shot in black and white, is crystal clear (unlike the old VHS version I saw years ago). Extras include an audio commentary track with writer/directors David Siegel and Scott McGehee, all new interviews with Siegel, McGehee, executive producer Steven Soderbergh, Haysbert, cinematographer Greg Gardiner, editor Lauren Zuckerman and production designer Kelly McGehee, deleted scenes, BIRDS PAST the first short film by Siegel and McGehee, the US trailer, the European trailer and a reversible sleeve with newly commissioned artwork.

I fully understand that this movie might not be for everyone but if you give it a chance, if you suspend belief, then you will end up having a movie worth discovering. It is the story that matters not the look of the actors telling it. That they are excellent actors helps with the momentum of the film. When viewed years ago I wouldn't have thought of watching the film a second time. Now it has become a part of my collection, a film to watch every now and then. It's that good.

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