Kenneth Branagh’s early film Dead Again is one of those hidden gems that seems to defy genre definitions. A Gothic thriller-romance-drama that is as delightfully perplexing as it is darkly engaging, this 1991 film weaves elements of mystery, investigation, and reincarnation into a story that’s both chaotic, witty and creative. Directed by Branagh and penned by Scott Frank (who would go on to write Logan), the film came hot on the heels of Branagh’s successful Henry V, a stepping stone in his transition from Shakespearean UK-based projects to Hollywood’s golden shores.
At its core, Dead Again revolves around Roman Strauss (played by Branagh), a successful opera composer in 1949, who is accused of murdering his wife, Margaret (Emma Thompson). This is Branagh and Thompson at their best. After Roman is executed for the crime, the story catapults us to “present-day” 1991 Los Angeles, where a woman (also played by Thompson) with amnesia and a mute disposition turns up at an orphanage. Enter Mike (you’ve guessed it right: Branagh again) a former resident of the gothic building, now a scrappy private investigator enlisted to solve the mystery of her identity.
The unusual setup alone would be enough to hold our attention, but it is when a sleazy hypnotist (played brilliantly by the always brilliant Derek Jacobi) is introduced that things really start to unravel. Through hypnosis, glimpses of a potential past life emerge, tying the modern-day characters to the tragic events of the 1940s. The film pivots back and forth in time, adding layer after layer to this already complex puzzle, creating an experience that demands close attention.
Source: IMDB
I love the opening! The opening credits sequence is all tension and buildup: Patrick Doyle’s score ramps up the drama, interspersed with newspaper clippings chronicling the Strauss murder case. It’s a concise, dynamic way to set the stage, giving viewers an immediate taste of the film’s tragic backstory and raising their expectations for the mystery to unfold.
Despite the thriller genre, Dead Again doesn’t shy away from moments of humor. The film teases the genre in subtle ways, acknowledging its melodrama without mocking it. This is where Branagh’s direction shines—his love for classic cinema, perhaps a nod to Hitchcock or even Orson Welles, is clear, but he treads carefully, making sure not to tip into parody. Jacobi, for instance, lands several comedic lines that help to diffuse the intensity, while Robin Williams adds a satirical edge to his character’s dialogue – “Karmically, self-defense is quite cool”.
One of the film’s defining stylistic choices was a last-minute decision to present flashback scenes in black and white. This adds a timeless – and in combination with the music – a Hitchcockian feel to the 1949 scenes, although it came with one hiccup: the costumes. The wardrobe department had originally designed the costumes with color in mind, leading to some quirky color choices that do not always translate well in monochrome. Still, the black-and-white scenes lend the film a classic Gothic aura, emphasizing the dark romanticism at the story’s heart. To fans of the cult classic Rebecca: make sure to check this one out.
In addition to Branagh and Thompson in dual roles, Dead Again boasts an enviable cast. Robin Williams makes an uncredited appearance as a fallen psychologist (Dr Cozy Carlisle…Oh God, what a great name!), now stocking cat food in a grocery store, and steals every scene he is in. Williams reportedly chose not to be credited so audiences would not expect a comedy, as his fame for humor might mislead viewers about the film’s tone—a testament to his humility and awareness.
Supporting roles are filled by icons like Miriam Margolyes and Joe Anderson, adding depth to the film’s noirish setting. And of course, Jacobi as the hypnotist is both comedic and chilling. His character has a knack for landing sly, offbeat lines that lift the story without diminishing its Gothic seriousness. He uses his practice to get information from his innocent “patients” on where they store their expensive furniture, which helps him run a successful antique’s store on the side.
If there’s one critique, it’s that some scenes feel a bit too self-consciously Gothic and occasionally melodramatic. Certain shots are so drenched in old-school Gothic atmosphere that it borders on heavy-handedness. Branagh’s signature long takes and the intricate 360-degree camera movement during the first hypnotism scene are captivating, but there are moments when the film could have benefited from less flair and fluff, and more visual depth and effort in framing. What I really loved about the unfolding melodrama is that the movie knows how to wink, often poking fun at the genre itself, while remaining respectful.
Source: IMDB
Beneath the mystery, Dead Again tackles weighty themes that resonate beyond the screen. As the characters grapple with questions of identity and fate, the film subtly explores how the past shapes the present. There’s an undercurrent of karmic justice, exploring how actions have consequences that may ripple across lifetimes. The romance between Mike and the amnesiac woman mirrors that of Roman and Margaret, illustrating how past lives, unresolved traumas, and suppressed emotions can haunt us or turn us toxic.
The film does not claim to have answers to these questions, which is part of its intelligence. It simply raises questions about fate, love, forgiveness, psychological and spiritual topics that linger long after the credits roll. Whether you believe in reincarnation or not, the story taps into universal themes leaving audiences with a lot to ponder.
Dead Again is a hidden gem from the early ’90s that remains fresh for anyone willing to untangle its knotty plot and indulge in a little bit of supernatural intrigue. Oh man, it is hard not to wish for more scripts these days to be as original, sharp, and funny as this one!
You can watch Dead Again on Apple TV or buy it through Amazon.
~ by Dora Endre ~
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