DEAD AGAIN. Directed by Kenneth Branagh; written by Soott Frank; produced by Lindsay Doran and Charles H. Maguire for Paramount. Starring Kenneth Branagh and Emma Thompson. Rated R.
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A Hitchcockian romantic thriller isn't the most likely follow-up to Shakespeare. But that's what Branagh has chosen to do after his much-celebrated Henry V—and I'm glad he did.
Dead Again is a stylish, exciting and thoroughly enjoyable movie.
Its complicated plot involves murder, music, revenge, reincarnation and romance. But to tell almost any of the storyline would risk spoiling some of the suspense. And that would be a shame, since it's built up so skillfully that before you're far into the movie at all, there are several clutch-a-friend's-arm scenes and jump-to-the-edge-of-your-seat scenes.
By the end, even if you've figured out "who-dunit," you'll still have a couple more gasps and surprises before the final credits. It would be a pity to ruin any of that fun by knowing too much ahead of time.
The movie's outlandish premises are made believable and its convoluted plot twists seem inevitable in large part because of its truly excellent cast.
Branagh and Thompson do an outstanding job in two dual roles, even though each character is quite tifferent from the other. Private eye Mike is brash and appealing; composer Roman is tortured and passionate. Amnesiac "Grace" (Mike's made-up name for her) hovers constantly on the brink of hysteria; pianist Margaret is urbane and self-assured.
The story's minor characters are as much fun to watch as the principles. Especially Derek Jacobi as a slick hypnotist/antique dealer, Robin Williams (yes, the Robin Williams, on an uncredited lark) as a disgraced psychiatrist who consults from a frozen food locker, and Andy Garcia as a sleazy reporter.
Moviegoers who appreciate original cinematographic styling will enjoy director Branagh's juxtaposition of black and white with color, close-ups, and other effective touches.
But even if you usually don't go in for "arty" movies, you'll probably like Dead Again anyway, on the strength of its nifty story and compelling performances.
September 11, 1991