My Identity Full Movie
Alacoque Whitchurch
Identity includes the many relationships people cultivate, such as their identity as a child, friend, partner, and parent. It involves external characteristics over which a person has little or no control, such as height, race, or socioeconomic class. Identity also encompasses political opinions, moral attitudes, and religious beliefs, all of which guide the choices one makes on a daily basis.
People who are overly concerned with the impression they make, or who feel a core aspect of themselves, such as gender or sexuality, is not being expressed, can struggle acutely with their identity. Reflecting on the discrepancy between who one is and who one wants to be can be a powerful catalyst for change.
A hunger for authenticity guides us in every age and aspect of life. It drives our explorations of work, relationships, play, and prayer. Teens and twentysomethings try out friends, fashions, hobbies, jobs, lovers, locations, and living arrangements to see what fits and what's "just not me." Midlifers deepen commitments to career, community, faith, and family that match their self-images, or feel trapped in existences that seem not their own. Elders regard life choices with regret or satisfaction based largely on whether they were "true" to themselves.
Adolescents grapple with so many different aspects of identity, from choosing a career path to cultivating moral and political beliefs to becoming a friend or partner. Role confusion pertains to the inability to commit to one path. Adolescents then go through a period of experimentation before committing, reconciling the pieces of their identity, and emerging into adulthood.
As a person grows older, the overall trend is toward identity achievement. But major life upheavals, such as divorce, retirement, or the death of a loved one, often lead people to explore and redefine their identities.
Enhancing your cybersecurity posture starts with identity security.One Identity can help unify your approach to managing access rights forbetter visibility and control, verify everything before granting accessto your most-important assets and help you adapt to an evolving threatlandscape.
A dramatic proliferation of identities, combined with the fragmentedapproach that many organizations address identity security today, hascreated unprecedented opportunities for bad actors. One Identity helpsclose this cybersecurity exposure gap with an integrated, modular set ofsolutions that delivers unparalleled visibility, control, and protection.
Inspired by Agatha Christie's 1939 whodunit And Then There Were None, the film follows ten strangers in an isolated hotel, who are temporarily cut off from the rest of the world and mysteriously killed off one by one. Several events which take place in the hours before the characters' arrival are introduced at key moments in the film using reverse chronology structure and, in a parallel story, a murderer awaits a verdict at a crucial trial that will determine whether he will be executed for his crimes.
A convict named Malcolm Rivers awaits execution for a vicious mass murder that took place at an apartment building. Journals belonging to Malcolm are discovered misfiled in the case evidence; they were not introduced during the trial. Malcolm's psychiatrist, Dr. Malick, and his defense attorney argue the journals prove Malcolm's insanity.
Meanwhile, ten strangers find themselves stranded in a torrential rainstorm at a remote Nevada motel, run by Larry Washington. The group consists of an ex-cop, now limousine driver, Ed Dakota; Caroline Suzanne, a washed-up, irritable actress; Officer Rhodes, who is transporting convicted murderer Robert Maine; Paris Nevada, a sex worker; newlyweds Lou and Ginny Isiana; and the York family, George, Alice (who was severely injured when Ed accidentally hit her with his limo), and their nine-year-old son, Timmy.
With the group all in separate rooms, Suzanne is killed by an unknown assailant. Ed discovers Suzanne's head in a dryer, along with the number 10 motel key. Maine is suspected to be the killer as he has escaped. Ginny locks herself in the bathroom to escape Lou during a fight, only for the unknown assailant to murder Lou out of Ginny's sight.
At the hearing, Malcolm's diaries indicate that Malcolm suffers from dissociative identity disorder, harboring eleven distinct personalities. His defense attorney argues that he is unaware of his crimes, which is in violation of existing Supreme Court rulings on capital punishment. Dr. Malick is introducing the concept of integrating the personalities of someone with dissociative identity disorder as Malcolm is brought in.
While taking photos of Lou's crime scene, Ed finds the number 9 key in Lou's hands. He begins to suspect that the killer is counting down and targeting them in order. Maine fails to escape the motel area, and he is subdued by Rhodes and Ed. Larry is instructed to guard Maine, but suspicion falls on him when Maine is found dead. Rhodes and Ed find the number 8 key next to his body, and they harass Larry, who takes Paris hostage. Paris wrestles him off, causing Larry to attempt to escape in his truck, but he accidentally crushes George against a dumpster as he tries to save Timmy from being run over.
Rhodes ties Larry to a chair and orders the other guests to stay until dawn. Larry convinces Paris and Ed that he is not the perpetrator by telling them how he ended up at the motel. Alice, still in bed, is checked on and presumably has died from her injuries, but Rhodes finds the number 6 key. George's body is recovered and the number 7 key is found in his pocket, which confuses the others.
Ed checks their ID cards in the office, discovering that each one of them is named after a state, and that their birthdays all match. With Dr. Malick calling out to him, Ed finds he is at the hearing, but is confused as to why he is there. Dr. Malick explains that he is one of the personalities that Malcolm Rivers created as a child. Learning one of the personalities committed the murders, Ed is instructed to "go back" to the motel to try to eliminate them.
As Ed returns to the motel, Paris finds convict-transportation files for both Maine and Rhodes in the police car, revealing Rhodes is a criminal acting as an officer. Rhodes attacks Paris, but she is saved by Larry, who is shot to death by Rhodes. Finally believing Rhodes to be the murderous personality, Ed goes after him and the two men end up shooting each other fatally, leaving only Paris still alive.
With the homicidal personality removed, Malcolm's execution is stayed and he is ordered to be placed in a mental institution under Dr. Malick's care. In Malcolm's mind, Paris settles down in her hometown of Frostproof, Florida. As she tends to her orange grove, she discovers the number 1 key buried in the dirt, and she finds Timmy behind her. It is revealed Timmy is actually the murderous personality and that he orchestrated all of the deaths at the motel, including faking his own death. Timmy kills Paris and takes over completely, causing Malcolm to strangle Malick and forcing the van that is en route to the mental institution to swerve off the road and stop before Timmy's voice repeats the poem "Antigonish" by William Hughes Mearns one more time.
Director James Mangold stated in an interview prior to the film's release that he was attracted to a claustrophobic thriller because "I don't see this as a genre that's tapped out at this point. You can make it sound dead end but these remain some of the most cinematic films ever made, whether you're talking about Rear Window, The Others, Polanski's Knife in the Water, Dead Calm, Carpenter's The Thing, Alien, huge piles of great films that buck conventional wisdom that a movie should be cinematically broad like a Lawrence of Arabia."[2]
Actor John Cusack was pursued for the lead because Mangold and producer Cathy Konrad both felt like he was perfect for the role. As Mangold said in another interview, When you think of movies like The Grifters, you don't feel like it's such a stretch. I'd met John a few times and there's this great 'Everyman' sense to him. And while there's this great warmth to him, especially as he's grown older, there's also a simplicity, a gravity to him. There's something very solid about John."[3]
90 percent of the film was shot on Stage 27 at Sony Pictures Studios in Culver City. Stage 27 is the same sound stage that once housed the Emerald City during production of The Wizard of Oz. Mangold used production designer Mark Friedberg to transform the sound stage into a complex set with endless rain, featuring a motel with a swimming pool, 14 rooms, and surrounding desert.[2] Filming also took place on location at the Four Aces Movie Ranch in Palmdale, which features the motel from which the motel built on Stage 27 was modeled, Los Angeles City Hall in Los Angeles, and other exterior locations in Palmdale and Lancaster, California.[6][7]
Roger Ebert gave the film three stars out of four and wrote, "I've seen a lot of movies that are intriguing for the first two acts and then go on autopilot with a formula ending. Identity is a rarity, a movie that seems to be on autopilot for the first two acts and then reveals that it was not, with a third act that causes us to rethink everything that has gone before. Ingenious, how simple and yet how devious the solution is."[9]
Mick LaSalle of SFGate reported, "At first, Identity seems like nothing more than a pleasing and blatant homage (i.e., rip-off) to the Agatha Christie-style thriller where marooned guests realize that a murderer is in their midst... we've seen it before. Yet make no mistake. Identity is more than an entertaining thriller. It's a highly original one."[10]
"I love Identity, I love it. In fact, I think some of the filmmaking, the craftsmanship, the image making, is such that I'm very proud of it. Interestingly, when Adaptation (2002) came out, and there's a joke in the movie about someone with split personality, that came out right before Identity. You know the joke? Nic Cage is working on this crazy idea for a movie, the idea that the killer has multiple personalities, and Adaptation came out about three months before Identity. When I saw Adaptation, I realized I was dead. Half the reviews of Identity were going, like, this is the movie about the stupid joke, someone made a movie of the joke in Adaptation. And it was crushing, honestly, it was crushing because I spent a year and a half working on the movie, and it was kind of like half of the reviews were calling it silly. But part of what I loved about Identity, and maybe you too, was that it was so crazy, that it was just a completely crazy movie. And the freedom of the concept meant that you could exist in a more dreamy, fever-dream space with the film, which was very freeing to me, to be this kind of noir And Then There Were None amped up to eleven on the volume knob. It was very exciting for me, and hugely enjoyable, and I'm very proud of the movie."[16]
c80f0f1006