As I note, “The One I Love (2014) is yet another film that’s been completely overlooked in the headlong rush to the multiplex, yet it’s a stunning directorial debut by Charlie McDowell, from a script by Jonathan Lader, and produced by the Duplass Brothers, Mark and Jay (Charlie McDowell, incidentally, is actor Malcolm McDowell’s son with Mary Steenburgen). Mark Duplass does double duty – an apt turn of phrase, as you will see – starring in the film, in addition to his co-producer role, as harried husband Ethan, who is first seen in a therapy session, both angry and repentant after having cheated on his wife Sophie (Elizabeth Moss, best known for her work on the TV series Mad Men). More on that later.
Yet, for all the force and power that The One I Love possesses, it might as well not have been made at all, so quickly did it disappear. As Wikipedia notes, after a well received screening at the Sundance Film festival on January 21, 2014, ‘The One I Love opened in a limited release [on August 22, 2014] in the United States in 8 theaters and grossed $48,059 with an average of $6,007 per theater and ranking #42 at the box office. The film’s widest release was 82 theaters and it ended up earning $513,447 domestically and $69,817 internationally for a total of $583,264.’ And then it was gone.
That’s a shame, because The One I Love is both original and unsettling, even as it incorporates themes, either by design or simply through coincidence, from John Cromwell’s The Enchanted Cottage (1945), tinged with the much darker vision of Maury Dexter’s The Day Mars Invaded Earth (1963), with touches of Spike Jonze’s Being John Malkovich (1999) and Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004) thrown in for added resonance.
The One I Love starts off in a seemingly predictable manner, as if the film will be another earnest study of a marriage in collapse, in the manner of Mike Nichols’ film of Edward Albee’s play Who’s Afraid of Virginia Woolf? (1966, which is actually referenced in the film’s dialogue), but soon any clinical realism is abandoned for a far more sinister and elliptical scenario – a kind of dark ‘magical realism’ – in which the audience is never sure about the characters’ motives, or even their putative identities.
Not surprisingly, Ethan and Sophie are experiencing a moment of crisis in their relationship as a result of Ethan’s infidelity, and their smooth and all-too-affable therapist (effortlessly played by Ted Danson) suggests that they spend a weekend at a therapeutic retreat to ‘reconnect.’ At first, when the couple arrives at the lavishly appointed estate, which is to be their home for the next few days, all seems well. It’s a rather odd place, overflowing with flowers and lavishly decorated throughout, with a guest book in the front hallway attesting to the salutary effect it has had on the previous couples who have stayed there.”