Sliding Doors (1998)

Fate's Elbow

Director Peter Howitt had been a professional actor for over 15 years when he wrote the script for SLIDING DOORS (1998), and it became his directorial debut. I think he understood the creative debt he owed writer/director Krzysztof Kieslowski for the "concepts" put forth in his films BLIND CHANCE (1987), and THE DOUBLE LIFE OF VERONIQUE (1991). In BLIND CHANCE we found three parallel story lines having to do with catching, or not catching a train. Ironically, German director Tom Tykwer's RUN, LOLA, RUN (1998) was being developed and filmed simultaneously with Howitt's project. LOLA had three story lines all kicked off by arbitrary actions. So all together now--let's have a tip of the director's beret to Kieslowski.

Howitt as an actor made 27 film appearances from 1982. He was featured in IN THE NAME OF THE FATHER (1993), where he met actor John Lynch, whom he used later in SLIDING DOORS. Howitt had a role in the TV series HIGHLANDER (1993). He was also in SOME MOTHER'S SON (1996), again with John Lynch. He appeared as the "Cheeky Bloke" in SLIDING DOORS because suddenly while filming he realized had not cast the part. Since DOORS in 1998), he has directed six films, like JOHNNY ENGLISH (2003), with Rowan Atkinson, and LAWS OF ATTRACTION (2004), with Pierce Brosnan; who by the way had also worked with John Lynch in EVELYN (2003). What a small and tight little world the business of filmmaking can be.

The plot of SLIDING DOORS sets into motion a metaphysical maze. Helen Quilley (Gwyneth Paltrow) has been "sacked" from her male dominated PR job. Heading home early she uses the underground. Rushing along we see her miss the train--but then zip-zap the film backs up like a one-reel silent comedy, and then we see her catch the subway. From this point on we start experiencing two parallel story lines with Helen both sitting on the train, and standing forlorn on the platform as the train pulls away.

Helen A., who caught the train, arrived at her flat hoping to get some emotional comfort from her live-in boyfriend, Gerry (John Lynch)--who is being supported by her as he writes his first novel. But she does not find a loving and caring ear for her tale of vocational woe--rather she finds Gerry "shagging" a strange woman; who turns out to be named Lydia (Jeanne Tripplehorn). Outraged, Helen A. left the "wanker" standing naked, wrapped in a damp blanket, and she headed straight for a pub where she proceeded to get "drunk as a monkey"--where she is reunited with a chance acquaintance, James (John Hannah). Helen A. moves in with her best friend, Anna (Zara Turner), cuts and dyes her hair blond. Soon her life becomes enriched with her new and wonderful "independence".

Helen B., who missed the train, is nearly mugged while hailing a taxi, and has to be taken to the emergency room to get some stitches in her forehead. She arrived at her apartment mere moments after Lydia had exited. Gerry was able to bluster his way through a miasma of lies regarding his activities of the morning, and she decided to believe him. But as the months went on, and she worked two jobs to support him, Gerry continued to cheat on her with Lydia. Finally fatigued waiting for him to leave Helen B., Lydia decided to intervene in their domestic life, demonstrating what a wicked and controlling vixen she really was. There was also the complication of pregnancy in both plot lines--Helen A. by James, and both Helen B. and Lydia by Gerry.

Both story lines proceed toward a tragic denouement. Then miraculously we witness the threads of one life cross over to the other. Perhaps there could have been more of that in this movie. Kieslowski would have allowed more synchronicity to be at work, more instinctual intuitive transfers, and more coincidence. Sometimes director Howitt became so frantic showing us the parallel plots that it became a bit confusing as to which "dimension" we were immersed in. Perhaps that is why he had Helen A. dye her hair blond, to ratchet down the possible confusion.

Somehow Gwyneth Paltrow was fully able to develop "both" Helens into individual characterizations, Helen A. becoming stronger and more independent, and Helen B. becoming more other directed and gullible. Paltrow's English accent sounded very authentic. This was the first time she attempted that Brit accent, for EMMA (1996), her Oscar for SHAKESPEARE IN LOVE (1998), and her role in POSSESSION (2002) were still projects for her future. In DOORS she reminded me of a young Audrey Hepburn--slim, sexy, and vulnerable. This film was very enjoyable, vintage Paltrow. She actually lives in London now with her musician husband and two children. She can smile when she reads about herself being referred to as "that English actress who used to be engaged to Brad Pitt."

RV Driver
Two senarios going on at the same time. Shallow and not that great. Sorry I bought the movie.

RV Driver
Two senarios going on at the same time. Shallow and not that great. Sorry I bought the movie.