Getting to the truths of the matter
By Christy Lemire |
July 15, 2012, Sunday
|
Print Edition
Print Edition
IN 1994, a 13-year-old boy named Nicholas Barclay was reported missing from his home in San Antonio, Texas. Three and a half years later, he turned up in Spain of all places, to the obvious delight of his worried family.
Or did he?
Who this person is and how he insinuated himself into the lives of strangers is the subject of "The Imposter," a gripping documentary filled with the kind of twists, turns and dramatic character revelations of a page-turner mystery.
Director Bart Layton takes a story that was already fascinatingly weird to begin with and makes it even more compelling by structuring it as a shadowy film noir, offering information in expertly paced, precisely measured amounts to maximize suspense. His inventive approach includes reenactments of some events, or as he describes them, "subjective visualizations" of what the key figures are describing in their interviews.
Layton doesn't judge any of the people involved, but rather uses this extraordinary situation in which they all found themselves to explore the nature of truth: how we manufacture it and what we will allow ourselves to believe. "Rashomon"-style recollections of events reinforce the sensation that what we're watching is disorienting and thrilling at once.
At the center, and happily serving as our tour guide, is the imposter himself: a French-Algerian man named Frederic Bourdin who explains what he did, step by step. This person is obviously dangerous and untrustworthy to us but it's also easy to see how he could charm his way into or out of any situation. He's cunning - he's a survivor.
Bourdin shares how he discovered the name of the missing boy and assumed his identity. After manipulating various authorities in Spain, he was on his way to the United States.
One look at this guy, with his brown hair and dark eyes, and it's obvious he's not the blonde-haired, blue-eyed Nicholas.
Whether the family members are truly that gullible - or they have something to hide themselves, as is suggested at one point - it's clear that they've lived difficult lives.
Once Bourdin's actions are clear, "The Imposter" then becomes a question of motive.
With the help of beautifully seamless editing and an eerie score, Layton creates a fluid energy that's spellbinding until the very end.
Or did he?
Who this person is and how he insinuated himself into the lives of strangers is the subject of "The Imposter," a gripping documentary filled with the kind of twists, turns and dramatic character revelations of a page-turner mystery.
Director Bart Layton takes a story that was already fascinatingly weird to begin with and makes it even more compelling by structuring it as a shadowy film noir, offering information in expertly paced, precisely measured amounts to maximize suspense. His inventive approach includes reenactments of some events, or as he describes them, "subjective visualizations" of what the key figures are describing in their interviews.
Layton doesn't judge any of the people involved, but rather uses this extraordinary situation in which they all found themselves to explore the nature of truth: how we manufacture it and what we will allow ourselves to believe. "Rashomon"-style recollections of events reinforce the sensation that what we're watching is disorienting and thrilling at once.
At the center, and happily serving as our tour guide, is the imposter himself: a French-Algerian man named Frederic Bourdin who explains what he did, step by step. This person is obviously dangerous and untrustworthy to us but it's also easy to see how he could charm his way into or out of any situation. He's cunning - he's a survivor.
Bourdin shares how he discovered the name of the missing boy and assumed his identity. After manipulating various authorities in Spain, he was on his way to the United States.
One look at this guy, with his brown hair and dark eyes, and it's obvious he's not the blonde-haired, blue-eyed Nicholas.
Whether the family members are truly that gullible - or they have something to hide themselves, as is suggested at one point - it's clear that they've lived difficult lives.
Once Bourdin's actions are clear, "The Imposter" then becomes a question of motive.
With the help of beautifully seamless editing and an eerie score, Layton creates a fluid energy that's spellbinding until the very end.
- About Us
- |
- Terms of Use
- |
-
RSS - |
- Privacy Policy
- |
- Contact Us
- |
- Shanghai Call Center: 962288
- |
- Tip-off hotline: 52920043
- 娌狪CP璇侊細娌狪CP澶05050403鍙-1
- |
- 浜掕仈缃戞柊闂讳俊鎭湇鍔¤鍙瘉锛31120180004
- |
- 缃戠粶瑙嗗惉璁稿彲璇侊細0909346
- |
- 骞挎挱鐢佃鑺傜洰鍒朵綔璁稿彲璇侊細娌瓧绗354鍙
- |
- 澧炲肩數淇′笟鍔＄粡钀ヨ鍙瘉锛氭勃B2-20120012
Copyright 漏 1999- Shanghai Daily. All rights reserved.Preferably viewed with Internet Explorer 8 or newer browsers.
