rk to the use of montages, Double Life is a treat to a earner like me since, it provides rich literature in how cinematography in the 1940s used to be. From on stage scenes to hall room and bedroom scenes, every frame has the lighting and set up of a plush lifestyle and promises of thrill and adventure in an affluent set-up (Bordwell, Staiger & Thompson, 2003, p.54). One of the main attractions of the move was the lead actor Ronal Colman himself, whose suave and gentlemanly looks and smart dialogues give everyone an assurance of quality. In every frame, in the role of his mistress actress Shelley does a remarkable job as the supporting cast (Cagle, 2012, p.422). By watching the performance of these artists, onlookers get the feeling that acting is not just a profession for such stars. On the contrary, it is like a religion practiced with perfection by these lead artists.
The story takes us through the psychological battle of a person who has been asked to play Othello. The uniqueness of the story itself is the second best attraction to me about this film. This actor finds it initially difficult to emote jealousy that is the lethal factor in Othello’s character. While he finally achieves it with success through the help provided by the supporting cast and his mistress, he slowly finds the traits of Othello growing into his sub-conscious and overtaking his normal life, wherein he is now unable to control the jealousy and has repeated experiences of Othello’s character even amidst normal parties and day to day living. The gruesome result of this shift of imaginary character in his real self is that he ends up killing his mistress, taking her to be the real life version of Desdemona, the heroine in Shakespeare’s play Othello, whom Othello kills. All through the scenes, the direct focus on Ronald, the repetition of standard montages like smoking cigarettes and pipes, the mistresses demand and the theater rehearsals and props, keeps the audience aligned to the