Wright and Tamara Lawrance play in June and Jennifer Gibbons, twins who closed the door on the rest of the world with a vow of self-imposed silence but ended up being sorely served by the judicial system.
Adapted by the screenwriter Andrea Seigel (Laggies) of the Non-Fiction book by journalist Marjorie Wallace of the same name, Drama The Silent Twins explores the rich but often unhappy imaginative world of the real life of existing artists June (Letitia Wright) and Jennifer ( Tamara Lawrance) Gibbons.
The identical twin sisters, born in 1963 of a pair of Windrush generation of Barbados and grew up in Wales, have chosen to speak to anyone for many years. Nevertheless, they wrote pages on pages of poetry and highly eccentric but strangely convincing prose, that director Agnieszka Smoczynska (The Lure) and his team have adapted in words of Fey, small songs and STOP- Motion with frightening dolls that punctuate the film through.
But also intrinsically fascinating, the history of the sisters of Gibbons could be, the interpretation of the material of Smoczynska and Seigel feels in one way or another – a little too satisfied with his own oddity, and too concerned about the Surface texture and color to help viewers really understand its troubled protagonists.
Perhaps it is not a fair comparison, but the silent twins feel very similar, and yet not as good as the recent landscapers of the British Limited series. A collaboration between the scriptwriter Ed Sinclair and the director Will Sharpe, with David Thewlis and Olivia Colman as a convicted murderers Christopher and Susan Edwards, is also a story on an uncontrolled mental illness leading to a tragic misfortune, streaked with humor black. Like the silent twins, the landscapers revolve around a pair of criminals without improbable ficture (although Edwards’ crime has been far, much more serious), whose co-dependent fantasies add a fun and self-reflexive quality of the drama.
The silent twins feel like a more voyeuristic exercise, less interested in what made “twins”, as their family called them, ticks and the most pierced by their oddity. Even as young girls (played in the first stages of the film by Leah Mondesir-Simmond like June and Eva-Aarianna Baxter as Jennifer), the sisters reflect the movements of the other and polished their mutual silence with sparkling scints Out of the corners of their eyes. Sometimes they attack, for no apparent reason, with ferocity, only the brothers and sisters are capable.
But behind the room door, their shared imaginative world is a particular mixture of fairy tale, pop music and romantic Tawdry shots. The latter component will cause them trouble once they become adolescents (the roles taken care of by Wright and Lawrance), and they both become confused by an American teenager jock named Wayne Kennedy (Jack Bandeira), who moved In the neighborhood and introduce them to blow and sex.
From there, it is just a short vertiginous step towards fire on a tractor store and theft of items worth more than £ 100. But that is enough for the sisters to sent to the notorious mental establishment Broadmoor for an indefinite fate based on the conviction of the court that they posed too much danger for society and themselves.
Once inside and drugged with eyeballs, the sisters worsen, no better, and become even more violent and self -destructive. Paradoxically, it is in this last third that the film begins to feel less about the sisters and more on the efforts of Marjorie Wallace (Jodhi May) to help them by writing their story in the Sunday Times, transforming the film into a Another white based on Savior prison.
The film seems only in an frozen way by the way in which racism could cross with the journey of the twins. It was suggested that the fact that they were seriously intimidated at school in Wales, the only children of color in the region, played a major factor in their withdrawal in public silence, but the film does not Brush that fingers on this factor. Likewise, very little about the institutional racism of the judicial system which punished the sisters for small crimes with an extremely disproportionate conviction.
Again, the silent twins put themselves a very delicate task of being both on the inner life of women and external life at the same time, but does not really know how to put the circle. Visually, it is very striking, and especially likes to play the disconnection between their fantasies of saturated palette and the gray reality of the world in which they lived, a suburb of the suburban padded in nuances of sludge, and the even more macabre trepasse of Broadmoor (clearly a place in Poland). The accessories are due to the desires of costumes Katarzyna Lewińska and Cobbie Yates for their creations, all vintage fabrics and Mohair Flous knitting, which brings with a precise seam and a pastel palette the two worlds in which the sisters live.
Finding actors who are not real identical twins in real life to play the sisters were always going to be a challenge. Instead of using visual effects and an actor only – like Legend, who featured Tom Hardy as a Kray twins – the filmmakers here have judiciously chosen to go to the much easier and more budgetary option to launch two women Who look alike in a way and just go, using costume and makeup to match them, as it would be done in the theater. He usefully underlines how different the twins were in terms of personality, despite the fact that the girls themselves were still trying to remove this difference. Wright’s June of Wright appears to be the more circumspect and introverted introverted twin, and the actor, also one of the film’s producers, brings a graceful silence to this role. But it is Lawrance that shines even more than Jennifer, fragile, brilliant and mercurial.