Film Review: Splice (2009)

Fig. 1 Splice (2009) Film Poster

Vincenzo Natalis 2009 film Splice explores the idea of genetically combining the DNA of different animals to create new hybrids that will prove useful for medical use. However, Splice takes this a step further with the hybridisation of human and animal generics after generic engineers Clive Nicoli (Adrien Brody) and Elsa Kast (Sarah Polley) decide to take matters further into their own hands. Splice is very postmodern in structure with its similarities to David Cronenbergs The Fly in the way that it focuses on the physical transformation of the metamorphosis and how those around it respond. Also, with the ideology of taking science just a bit too far and the havoc it causes. Furthermore, Splice is postmodern through its intertextuality with texts such as Frankenstein via the borrowing of related names throughout especially when it comes to couples. This intertexuality is a suitable fit for the film though as similarly to Frankenstein, Splice deals with experimentation on life going wrong and in a lot of ways, Splice is a modern take on Frankenstein, and the movie recombines its own DNA from a vast array of influences. (Dwyer, 2010) Splices borrowing from multiple texts is in some way the hybridisation and splicing of different generics and postmodern film could in itself be symbolic for the idea of combining ideas/features.

Fig. 2 Fred and Ginger intertextuality

Again similarly to Cronenbergs The Fly Natali brings in the idea of playing God as an important theme in his film especially through the body horror that is used to connote Clive and Elsas disregard for too much power. For example, during the press conference of Fred and Gingers announcement it all goes horribly and especially gruesomely wrong and later on Elsas decapitating of Drens (Delphine Chanac) tail symbolises the availability of too much power for these generic engineers and in some way questions what makes humanity. The use of the idea of playing God in the world of generics throughout Splice is very fitting of the time of release as this was a time of much discussion of IVF and what genes could be used for and therefore, playing God or perhaps providing practical proof for Darwins theories takes them into a new and different world of complex moral and ethical choices of hubris and horror (French, 2010) Splice delves into this discussion on genes and allows audiences surveillance of what could possibly happen as well as moral panic of what may await the future.

Fig. 3 Elsa playing God

The idea of parenthood plays a key role in Splice with the generic engineer couple putting off having children to have more time for their research but then becoming fixated by the thing they create in the lab and in some way treating it as their own sexual creation. Splice is as much a cautionary tale about people having kids before theyre ready as it is a time-worn tale of scientists playing God. (Vejvoda, 2010) In this case the world isnt ready for Dren as things go madly out of control and similarly Elsa isnt ready for children due to her own abusive upbringing. However, the twists of successfully playing God seem to make Elsa and Clive believe they can just about do anything leading them to bring up Dren. Dren is represented as more humane than her own creators with her instincts getting the better of her. Freuds studies on The Uncanny can be applied here as Elsas memories and primitive experiences instinct her on how to raise Dren and she therefore ends up retracing steps to an abusive relationship. The human DNA of Dren is represented as the problem rather than her animal instincts as the human inside her seems to confuse her and lead her to create outrageous scenes. The confusion Drens human DNA is explored through sexuality with the Oedipus complex playing a key role in assessing how instincts impact on how you act. One scene in Splice shows Dren observing her parents during sexual intercourse and this tells her instincts that this is something normal. As Dren develops this instinct starts to form her actions with her becoming attached to Clive and eventually leading to what she believes should happen. Phallic objects throughout the film such as Drens tail and medical syringes further connote the theme of sexuality and foreshadow what eventually leads to more splicing.

Fig. 4 Dren and Clives relationship

Bibliography
Dwyer, S. (2010) Film Junk http://www.filmjunk.com/2010/06/04/splice-review/ (Accessed 12/10/11) French, P. (2010) Guardian.co.uk http://www.guardian.co.uk/film/2010/jul/25/splice-vincenzo-natali-brody-polley (Accessed 12/10/11) Vejvoda, J. (2010) A Later Day Frankenstein Tale, by Way of Cronenberg http://uk.movies.ign.com/articles/109/1094345p1.html (Accessed 12/10/11)

List of Illustrations
Fig. 1. Splice (2009) Film Poster From: Splice Directed by: Vincenzo Natali. [film poster] On Clashmusic.com http://www.clashmusic.com/files/imagecache/node_article_image/files/splice-filmposter.jpg (Accessed 12/10/11) Fig. 2. Fred and Ginger intertextuality (2009) Film Poster From: Splice Directed by: Vincenzo Natali. [film still] On Pixel Creation http://www.pixelcreation.fr/fileadmin/img/sas_image/galerie/animation_3d/Splice/26%20Splice.jpg (Accessed 12/10/11) Fig. 3. Elsa playing God (2009) Film Poster From: Splice Directed by: Vincenzo Natali. [film still] On topicstock http://topicstock.pantip.com/chalermthai/topicstock/2010/08/A9627796/A96277968.jpg (Accessed 12/10/11) Fig. 4. Dren and Clives relationship (2009) Film Poster From: Splice Directed by: Vincenzo Natali. [film still] On catalinolaru.files.wordpress.com http://catalinolaru.files.wordpress.com/2010/09/splice547612l.jpg (Accessed 12/10/11)