Perspective (film)

Annually between 2012 and 2020, a new chapter was produced until all nine chapters were complete. The ellipsis between chapters is integrated into the narrative. While not unprecedented, films made over a period of years while integrating their ellipses into their narratives are extremely rare for obvious reasons. A most recent example is the critically acclaimed Boyhood, which was in production, intermittently, from 2002 to 2013. Perspective spans nearly a decade in the lives of fictional characters that actually age. “As a recording art form, motion pictures are uniquely paradoxical,” says Paquette, “they can capture realities that authenticate its artifice.”[2]

From Rolf Leslie playing twenty-seven characters in the life story of Queen Victoria in the silent feature Sixty Years a Queen in 1913 to Eddie Murphy playing eight characters in Nutty Professor II: The Klumps in 2000, the casting of a performer to play two or more characters in a film is, and always has been, common. The history of casting a single actor as multiple characters in a play is perhaps as old as acting itself. Excepting Old Comedy, there is a well-known but little discussed rule in the drama of ancient Greece that only three actors played all the speaking characters in a tragedy. Over two thousand years later, even Shakespeare had a limited number of actors to cast in his plays (scholars’ estimates vary from eleven to sixteen), a theatrical exigency that occasioned much doubling and tripling of roles. This theatrical troupe mentality of having various actors playing various characters may also be located in the movies, such as those featuring the comedy group Monty Python, like Life of Brian in 1979. Regardless, the casting of an actor in multiple roles in the movies has been primarily conceptual, and not due to a lack of other performers.[2]

The opposite concept, that of casting multiple actors to play a single character, is extremely rare. In the first chapter of Perspective, Stéphane Paquette and Patricia Tedford play a domestic couple, and Pandora Topp plays Patricia's best friend who, at a house party, discreetly propositions Stéphane. Each of these three characters is named Alex. The chapter then restarts with the identical narrative except the actors have switched characters: now Patricia and Pandora are the domestic couple and Stéphane plays Pandora's best friend who propositions Patricia. Again, the chapter restarts with the identical narrative except now Pandora and Stéphane are the domestic couple and Patricia plays Stéphane's best friend who propositions Pandora. In the second chapter, the three actors continually rotate the three characters they play, not only within the same scene, but sometimes during the same dialogue exchange. “We’re not letting the audience identify a character with an actor,” according to Paquette in The Hollywood Reporter about his decision to cast his actors as shifting characters. “So, at all times, all of the actors are all of the characters.” [18][19][2] “The audience can neither immediately nor continually identify a specific character with a specific actor,” says Paquette. “It democratizes the three characters.”[2]

Other films that employ two or more actors to perform a single character include Todd Solondz's Palindromes, wherein eight different actors of different ages, races, and genders play a 13-year-old girl named Aviva during the course of the film, and Luis Buñuel's That Obscure Object of Desire, wherein two actresses, Carole Bouquet and Ángela Molina, play the role of Conchita; the actresses switch roles in alternate scenes and sometimes even in the middle of scenes.[2]