Kenneth Branagh’s debut film, **HENRY V**, achieved considerable praise; however, its status as a Shakespeare adaptation has led to it being somewhat disregarded within the realm of serious cinema. With **DEAD AGAIN**, his second directorial undertaking, Branagh presents something intended for a broader audience. Where **HENRY V** evoked comparisons to Laurence Olivier’s work, **DEAD AGAIN** feels reminiscent of an Alfred Hitchcock film. The movie unfolds across two distinct time periods, utilizing both color and black-and-white cinematography, with characters taking on multiple identities—a private investigator, elements of reincarnation, a fortune teller, and even a _femme fatale_ experiencing memory loss. It’s clear that **DEAD AGAIN** is a suspenseful thriller rooted in classic traditions. The screenplay by Scott Frank – the writer behind **OUT OF SIGHT**, **GET SHORTY**, and **MINORITY REPORT**—is sharp and engaging. Branagh's inventive camerawork, combined with Patrick Doyle's powerful musical score (under his composer alias), complements that writing effectively. Branagh is once more central to the film, both as director and performer, assuming two separate characters himself, a role also taken on by Emma Thompson, who was previously married to him. Although some familiar faces from his Shakespearean circle appear in smaller parts, Branagh fully integrates himself into Hollywood filmmaking by including American actors like Andy Garcia and Robin Williams. Ultimately, the narrative takes precedence in **DEAD AGAIN**. It’s an enjoyable and thrilling experience, and ranks among the strongest films released in 1991. _"...two halves of the same person. Nothing can separate them, not even death.”_

Source on TMDB