The Butler(S) DID It - Dissociative Identity Disorder in Cinema Peter Byrne Kent Institute of Medical and Health Sciences, Canterbury, Kent
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Med Humanities: first published as 10.1136/mh.27.1.26 on 1 June 2001. Downloaded from J Med Ethics: Medical Humanities 2001;27:26–29 The butler(s) DID it - dissociative identity disorder in cinema Peter Byrne Kent Institute of Medical and Health Sciences, Canterbury, Kent Abstract closely to the current conceptual framework of Beginning with classic Hollywood melodramas of the DID as a complex form of posttraumatic dissocia- tive disorder, highly associated with a history of 1940s, cinema has maintained a prolific output of 3 films with their own take on mental illnesses–none severe trauma, usually beginning at an early age. more so than the rare syndrome of dissociative identity Art may be a harmless mirror to the world, but disorder (DID). DID films are a popular and when film (art) imitates the condition of DID, enduring genre, whose influence can be seen interesting commonalities with the “reality” of the throughout mainstream cinema. Exploration of DID in condition as well as fanciful departures from the cinema is a useful exercise in that it touches on issues real, throw light on this controversial syndrome. in film studies, psychiatry and the mythology around Filmic representations of DID, formerly known mental illness. Despite “detective story” narratives and as multiple personality disorder, adhere closely to the clinical syndrome, as described by Putnam3 and conformity to the codes of the psychological thriller, 4 DID representations correspond closely to as defined in DSM-IV. Of the 22 DID films listed contemporary thinking about its phenomenology and in table 1, 12 are from the past decade, indicating aetiology. That said, some films confuse DID with the enduring popularity of the genre. Six (marked schizophrenia, and many reinforce two other with asterisk) are “biopics”, that is, they portray the misconceptions within film psychiatry: mental illness as “true story” of individuals with DID. In contrast to violence and the belief that every mentally ill person the cinematic representation of many psychiatric harbours one “great dark secret”. Those sceptical about illnesses, to which users and professionals could DID have suggested that popular written accounts object, these films in particular reflect current con- cepts, and could serve as teaching material for increase its profile: so too, powerful cinematic images 4 may suggest the possibility of DID to susceptible DID. In Madonna of the Seven Moons (1944), a woman dissociates and begins a new life as a gypsy people, including clinicians. Recent DID films reflect http://mh.bmj.com/ the real debate within psychiatry about the diagnostic following a sexual assault. Childhood trauma validity and scientific basis of DID. continues to have powerful aetiological status in more recent films: Prey of the Chameleon (1991), (J Med Ethics: Medical Humanities 2001;27:26–29) Raising Cain (1992), Color of Night (1994), Separate Lives (1994), Voices From Within (1994) and Never Talk To Strangers (1995). Most of the films in table Introduction 1 are detective stories in which the DID individual Me, Myself and Irene (2000) is the latest in a series adds an extra layer of complexity to a “whodunnit” of films depicting the psychiatric syndrome of Dis- yarn, be it as thief (Maroc 7), detective (Night on September 28, 2021 by guest. Protected copyright. sociative Identity Disorder (DID). Wrongly billed Visions), psychologist (Separate Lives) or victim as a “schizophrenia comedy”, it stars Jim Carrey as (Color of Night). The majority of DID films are a state trooper “whose (two) split personalities fall thrillers: Primal Fear (1996) comes with the for the same woman after he forgets to take his distributors’ plea not to reveal the surprise ending.5 mood stabilisers”.1 The film is not about schizo- phrenia, but it confuses this illness with DID. As such, it is best seen in the context of other DID Table one: dissociative identity disorder films, comprising a distinct genre. The seminal films DID film was The Three Faces of Eve (1957), Broken Reality (1994) overshadowing Lizzie, released the same year. Both Color of Night (1994) were based on living persons. The Three Faces of Eve Dressed To Kill (1980) depicted a traumatic childhood incident leading to Fight Club (1999) the development of three separate personalities, all FiveofMe(1981)* of which are reconstituted during the emotional Lizzie (1957)* catharsis where Eve is confronted with these truths. Madonna of the Seven Moons (1944) The actual details of this true story have been told Maroc 7 (1967) by the real Eve, Chris Costner Sizemore. After a Me, Myself, I (1992) long history of multiple childhood traumas, she Mirage (1944) presented with psychiatric symptoms, but initial Never Talk To Strangers (1995) cathartic treatment led to more personalities, a total Night Visions (1990) of twenty-two.2 This presentation corresponds Positive ID (1987)* www.medicalhumanities.com Med Humanities: first published as 10.1136/mh.27.1.26 on 1 June 2001. Downloaded from Byrne 27 Prey of the Chameleon (1991) motifs were employed in The Talented Mr Ripley Primal Fear (1996) (1999), where the psychopathic Ripley assumes his Raising Cain (1992) victim’s identity to evade detection and ease his Separate Lives (1994) guilt. Sybil (1976)* DID films are so established as a genre that they The Love Butcher (1982) have been regularly parodied: Zelig (1983), The The Three Faces of Eve (1957)* Man With Two Brains (1983), and Loose Cannons Voices From Within (1994) (1990). In Me, Myself, I (1992), Jo Beth Williams is Voices Within: The Lives of Trudi Chase (1990)* listed in the credits as playing the roles of “Crazy” * denotes biopics–“true stories” of real persons. and “Sane” Diane. Trigger Happy (1997) begins with the release of “paranoid schizophrenic” gang- ster Vic from the “funny farm”: the clinic decided it was too dangerous to let him out immediately, and Why DID? so is staggering the process, releasing one personal- The question arises as to why cinema should turn ity at a time. Here, as in Me, Myself and Irene, men- so frequently to the unusual condition of DID for tal illness is not feared, it is ridiculed. During a pro- inspiration. The evolution of a character with DID longed sequence in the film, Carrey physically provides the first clue: dramatic presentations with fights himself for the dominant personality. At the bizarre symptoms, which then give way to flash- height of Carrey’s acting out, his companion backs and a variety of dissociative states. Cinema’s reassures onlookers with the excuse that he is a seamless mastery of space and time, and its ability “schizo”. to represent diVerent points of view, lends itself If films are read as fantasy, additional analyses uniquely to these portrayals. Even more attractive are possible. The fantasy is of an entirely diVerent to the potential producer is the dramatic moment of identity, a diVerent life defined by diVerent catharsis, where all is revealed (the “twist”) and relationships. Fantasies are not always dark and resolution occurs. For the melodrama (the “biop- murderous–as above–where violent impulses are ics” of table 1) this is cure, but in thrillers, the mys- projected onto an apparently “normal” individual. tery is (re)solved. In addition to providing great Recent films have explored the life choices women scenes, DID films provide great roles. Actors must make, and presented alternative “what ifs” as jump at the chance to evoke such drama, with the fantasy-narratives: Peggy Sue Got Married (1986), opportunity to immerse themselves in multiple Sliding Doors (1997) and Me, Myself and Irene method acting. Joanne Woodward and Ronald (1999). The male equivalent gives nasty men a Coleman each won Oscars for The Three Faces of chance to change: Regarding Henry (1991), Mad Eve and A Double Life (1947) respectively, while About Harry (2000) and What Women Want (2000). Sally Field was awarded an Emmy for the In essence, these five films mirror Vertigo (1958), http://mh.bmj.com/ eponymous Sybil (1975). Trying to emulate Field, where James Stewart attempts to manufacture an Shelley Long attempted to use a DID role to make entirely diVerent fantasy-being from a real person. the transition from comedy to drama, playing the Though they are not DID films, they oVer the lead in Voices Within: The Lives Of Trudi Chase. spectator the fantasy of alternative identity within a Cinema’s tendency to imitate itself is also cinema of limitless possibility. relevant here. Many other films share the plot device where, owing to mental illness, one character assumes the role of another. These complement the DID and schizophrenia DID genre: Cabinet of Dr Caligari (1919), Testament One major consequence of DID films, and their on September 28, 2021 by guest. Protected copyright. of Dr Mabuse (1933), Spellbound (1945), A Double spin-oVs, has been the cinematic construction of Life, Psycho (1960), Magic (1978), Ninth Configura- schizophrenia as a “split personality” disorder. tion (1979), The Shining (1980), The Long Kiss Although the films listed in table 1 conform closely Goodnight (1996) and Shattered Images (1998). In to present day constructs of DID, many of them all but Spellbound, murder is committed by the per- depart from this verisimilitude in equating the son who assumes the alternate identity. All are character’s symptoms with schizophrenia. In re- thrillers, and the suspense centres on that character views, the films listed in table 1 are often wrongly being “out of control”. These ten films are only a described as schizophrenia films: six are cross- small sample of a longer list of similar films. Psycho, referenced as schizophrenia in the Corel All-Movie and its many imitators, form the psychokiller genre, Guide.7 Raising Cain was promoted with the follow- which reinforces the public’s perception of mental ing teaser: “When Jenny cheated on her husband, illness as violence.6 While these films probably owe he didn’t just leave, he split”.