Sadly, Side Effects does not grip the spectator as Contagion does, even though its script struggles to make dramatic twists and turns and adds an interesting website. www.sideeffectsmayvary.com
Some details are realistic: drug company logos on pens, clandestine
offers to pay Jude Law’s psychiatrist character $50,000 to test new meds on his
patients, psychiatrist Catherine Zeta-Jones’ not-so-subtle push about new
products, pharma-sponsored educational conferences, Jude Law asking for
Adderall. They all smack of the truth,
sad to say. However, those who know Hitchcock immediately recognize near-mirror
image repeats of the movie master’s framing shots, plot-driving devices, even damning
character flaws. For them, there will be no suspense. Yet this movie is
intended to be suspenseful.
Side Effects succeeds
in opening questions about contemporary psychiatric practices. Yet so much of
the plot is so far-fetched that even though salient details may be lost on
those who dismiss everything about Side
Effects as pure fantasy. Still, Side
Effects captures contemporary 2012
Manhattan psychiatrist stereotypes well—or at least as well as De Palma’s Dressed to Kill (1980) captured
skyscraper psychiatry did over thirty years ago.
Like Sonderbergh’s Side Effects, De Palma’s Dressed to Kill also replicated
Hitchcock’s tour de force in Psycho (1960).
Like De Palma, Sonderbergh exploits unexpected sexual preferences to the max,
but 2012 is not 1980. Shock value has simmered.
For many more examples of
sinister psychiatrists in cinema, please
see Cinema’s Sinister
Psychiatrists (McFarland, 2012).
www.drsharonpacker.com
www.drsharonpacker.com