I guess I’ll always have a soft spot in my heart for black and white film. It was what we used when I went to film school and it always brings back a little nostalgia when I see it used. Watching a monochrome film, for me, is like opening an old book or touching an oil painted canvas.
Christopher Nolan’s “Doodlebug” foreshadows common themes he would later use in his most popular films. Insanity and the workings of the mind are on full display here. One watch will give you hints of Inception, Insomnia, Memento and other Nolan films with one-word titles.
The film follows a man who is dead set on crushing some sort of vermin that has entered his house. As the film progresses, we see his mind begin to waver and struggles to focus on the scuttling of the creature which has infested his home and the sounds of his appliances. Things descend into total bedlam when we realize the invader our protagonist is desperate to smash into oblivion, is not all that it seems.
The special effects aren’t exactly The Dark Knight, but they do the job well enough. Camera angles and close-ups dominate the screen and tell the story for us. They reflect the paranoia our main character seems to be suffering from, as well and give the film a manic pacing. It isn’t towards the end that we get a true special effect, a simple trick that has been used in films predating this one, but used in a unique way to reveal the twist at the end.
Nolan seems to have been limited to the same criteria that I was for my final student film. No dialogue, black and white film only. But he stretches the most out of those limitations, creating a visual tale for the audience. Honestly, if Nolan had the same type of restrictions we did for his final student film as we did, most of the student body would have been floored. I don’t remember anyone, especially myself, that was able to get this creative with so little.