Cast: Adrien Brody; Sarah Polley; Delphine Chanéac; David Hewlett; Brandon McGibbon; Simona Măicănescu; Abigail Chu as Young Dren. Director: Vincenzo Natali. Writers and screenplay: Vincenzo Natali, Antoinette Terry Bryant and Doug Taylor. Genre: Sci-Fi/Horror
Technical: 3.5 Moral: 2.5 Rating: R 14
Genetic engineers and live-in partners Clive (Adrien Brody) and Elsa (Sarah Polley) specialize in creating new life forms by splicing genes from different animal species, in the hope that the results would contain new nutrients that will solve ills (like hunger) and cure illnesses (like cancer). They work for Nucleic Exchange Research and Development (NERD), which takes pride in the couple’s creations, Fred and Ginger, “designer species” that look like blobs of raw animal fat but which, being male and female, are expected to procreate.
Clive and Elsa want to take their experiments to the next level—splicing human genes—but NERD prohibits them, fearing backlash from morality groups. The couple proceed in secrecy, however, working nights and using an artificial womb, and in time their “baby” is born. The new species looks like a sweet, helpless hatchling but is as agile and untamed as a wild monkey. Extremely difficult to restrain, the little animal wreaks havoc in the laboratory, prompting Clive and Elsa to smuggle it out and confine it in their old barn. They name it “Dren”—“nerd” spelled backwards—and treat it like their own offspring although they would not take it home to live with them.
Elsa (who lost her daughter some years back) lavishes attention on Dren who has grown up looking like a bald but comely little girl with kangaroo legs and webbed feet. Elsa dresses her up with her own daughter’s clothes retrieved from the attic, gives her dolls and stuffed toys, puts up with her tantrums and eating problems, but also disciplines her as she would her own child. Clive thinks Elsa is getting dangerously devoted to the indefinable creature whom they have seen devour a live squirrel; he suggests they put her away, but Elsa’s reawakened maternal instinct would render her deaf to it.
Dren (Delphine Chaneac) develops alarmingly fast and blooms into adolescence. She shows good mimetic skills but possessing no power of speech, she can only chirp like a bird. Elsa the mother continues to dote on her, applying make-up on her face and clothing her with jewelry to match, but when Dren starts to exhibit rebellious teen tendencies and kills a cat, Elsa the scientist punishes her creation as only a spurned creator can. Clive is torn between pity and fear: particularly when the increasingly attractive Dren poses a bigger menace, having sprouted retractable wings and a deadly blade at the tip of her tail. Meanwhile, Dren, now outgrowing Barbie dolls and teddy bears, begins to get bored indoors and sets her eyes on Clive who is in turn unnerved to discover the reason behind his strange attraction to Dren: in creating Dren, Elsa had used her own DNA.
It is not known whether the makers of Splice had intended the movie to be a warning against human cloning and procreation, but it certainly delivers a strong message to genetic engineers to stop “playing God”. More of a sci-fi than a horror film, Splice may be seen as a timely challenge to scientists, lawmakers, priests, teachers and parents—people who are bound by ethics and morality to moderate thought, reason and decision affecting the creation of life in laboratories.
Splice would have been another B movie were it not for the elements that elevate it from the mundane. Brody and Polley give A-class performances , matching director Vincenzo Natali’s mature handling of what in lesser hands would have been obscene episodes. The CGI of Dren—from its endearing guinea-pig like appearance in infancy to its wickedly seductive teen form—also suggests such a species may in fact already be existing.
Far from being another shriek movie, Splice is of a genre which is in reality counter-cultural. While governments and “forward looking” citizens the world over laud the advances of genetic science and the advantages of stem cell research, movies with genetic engineering and human cloning themes, from Frankenstein onward, flash a red light warning to scientists, “Hands off!” Is it because movies are the mouthpiece of the human conscience that sees what science cannot?
While the whole movie proffers no clear ethical or moral resolution on the timely issue of human cloning, the fate that Elsa suffers in the end validates the Catholic Church’s teaching that creating life outside of what Mother Nature has intended is none of man’s business. The script contains gems that alert individuals would recognize as fertile grounds for debates or discussions on good and evil, for they reflect the ambiguity of man when it comes to the limits of experimenting with the creation of life in test tubes.
Listen well to the arguments of Elsa and Clive, delivered with conviction by Polley and Brody, and you might find yourself asking questions like: Being their creation, is Dren the child of Elsa and Clive? If so, would copulation then between Clive and Dren constitute incest? Is the live entity resulting from genetic engineers’ experiments theirs to do as they please? If human cloning is illegal, would splicing animal with human DNA be considered human cloning? Would such cloning be justified to give hope and wellness to the hungry and the dying?
If you missed it in the theatres, try to get a DVD copy, but watch it only when you’re in the thinking mode. Splice may not entertain but it can provoke deep thought about the meaning of creation.
