Back in the days before the FOX-TV network dragged prime-time TV down into the depths of low-end entertainment with their "reality" programming, one's only chance of seeing "unique" people was at fairs or carnivals in the "freak" shows. While some of the individuals on display at such gatherings were obviously real, some were apparently faked.
For the curious then, the place to go -- which was considered the reliable authority -- was the Guinness Book of World Records. Beyond detailing the quickest animal and tallest building in the world, along with the record holder for holding their breath or eating hotdogs, my early '70s edition also featured the tallest, skinniest, oldest and every other "est" imaginable that could be applied to humankind.
While every kid had their favorite statistic, accomplishment and/or photo, the one that probably mesmerized most was the story of Chang and Eng Bunker, the famous Siamese twins. Although the logistics of the two doing every together -- including fathering 10 and 12 kids respectively -- sailed over most of our heads, the sheer thought of never being apart certainly stuck with us.
The same evidently held true for Mark and Michael Polish, who wrote, directed and star in "Twin Falls Idaho," the fictitious story of a pair of such twins. Identical, but not conjoined -- despite how they believably appear in the film -- the Polish brothers admit having had thoughts of being lucky not to have found themselves in the same state. Such imagined association obviously influenced how they tackled this material and they clearly give and play their characters with a great deal of compassion and understanding.
Titled for the characters' birth condition, surname and the street address of their temporary home, and not for the actual city, this moody piece -- that's teaming with a thick, David Lynch style atmosphere and overall grittiness -- has its moments that showcase the filmmakers' talent and potential. Unfortunately, however, it isn't quite comprehensive enough to be considered a classic or much more than a good calling card for the two brothers' careers.
When the film does work, though, such as the material involving a symbolic bit about one of the twins hearing "the train" coming -- a reference to their childhood imagined way of being separated from one another by lying on each side of a train track -- it digs deep into the viewer's emotional core. In addition, not only are the brothers' performances as conjoined twins completely convincing, but with Michael directing from a script he wrote with Mark, the two have successfully created a unique little universe where their characters exist.
Yet, for most of the time it's a slow-moving affair where the near-creepy atmosphere and the twins' subdued and seemingly calculated reactions substitute for what should have been more of a compelling plot. While the sight and overall thought of the conjoined twins does hold one's interest for a while, the viewer will soon yearn for something more to keep things moving forward.
Although the element of having one of the twins being terminally ill is intriguing and/or disturbing, the film should have focused more on their past. Despite that being touched upon near the end of the film, the horrors and possible joys of the twins' lives -- partially expressed in their faces and general demeanor -- are something the audience wants and needs to see.
While the film's low budget obviously limited what the filmmakers could do, more information regarding what transpired before this story begins would have been beneficial. Whether through flashbacks or simple storytelling narratives, seeing or hearing about their past not only would have kept the film moving along and made it more interesting, but it also would have further endeared the characters to the audience.
Instead of that, the Polish brothers seem more inclined to use some heavy-handed symbolism concerning the conjoined twins -- Penny gets a two-dollar bill as change, a Halloween couple is dressed as a detachable pair of Siamese twins, Penny breaks apart a pair of chopsticks, etc... -- that's more than a bit too obvious.
The film also misses out on fully exploiting elements that are introduced, but are then either dropped or never completely developed. For instance, Penny's acquaintance shows up and immediately seizes upon the notion of exploiting the twins' unique condition for a profit. While both they and Penny are shocked at the man's callousness, he and his offer/threat then forever disappear, thus abandoning what could have been an interesting and complication inducing thread.
The same holds true for the love affair that sprouts between Penny and Blake. While the ramifications of such an unavoidable "love triangle" are hinted at, they're never taken through the logical, subsequent steps, including that of further prodding Blake into wanting to be free of his brother. Although some brief comic-relief related humor touches on this -- Blake stating he'll call Penny when he's single -- the complications of such a triangle are never explored to one's curiosity-induced satisfaction.
The point of such contentious observations is that the film simply needs more substance to fill in the gaps and carry the story beyond its initial premise. Mood and atmosphere will only get a film so far, and this one often feels like it's dragging a bit too much. It's almost as if the filmmakers were afraid to loosen up on the reins and see where the story might take them, whether that would turn out to be too sensationalistic or not.
The central and often sensitively played performances, however, make up for much of those deficiencies. As the conjoined twins, the Polish brothers deliver some incredibly subdued but still quite mesmerizing performances. Beyond the sheer physical demands of their roles -- no computer effects were used to create the illusion -- the two feel right as their nuances and behavior appear completely credible.
Model-turned actress Michele Hicks, who makes her feature debut, delivers a good performance as the broke and down on her luck hooker. While she easily could have played the character with the standard "heart of gold" characteristics, Hicks makes her compassionate and real, but in a gritty and seedy way. Supporting performances, from the likes of Garret Morris (TV's "Saturday Night Live") and Lesley Ann Warren ("Victor/Victoria"), are decent, but don't get enough screen time to make much more than a fleeting impression.
Although the film won't play well to mainstream moviegoers due not only to its subject matter, but also the fact that its slow pace and lack of any substantial development will bore many of them, it does offer some solid and credible performances coupled with a compelling premise that's hard to ignore.
Had the filmmakers allowed us deeper into the characters and their past, this might have been a far more moving and captivating film. As it stands, it has its moments and should pave the way for the filmmakers' future careers, but it could have been much better. We give "Twin Falls Idaho" a 6 out of 10.