But eventually a twist of fate occurs, and Kazan also ends up playing Laurel pretending to be Audrey, in a sort of heightened version of the vapid party girl's personality. And ultimately, she plays the best version of Laurel as herself; she's blossomed, she's radiant, but she's maintained her core sense of decency.
It's a lot to ask of one actress and it's a tricky feat to pull off; Kazan, with her bitty voice and big eyes, manages both the girlishness and the confidence of the Laurel/Audrey conundrum charmingly.
Writer-director Jenee LaMarque also tries to pull off a tricky feat by melding several different tones in this part romantic comedy/part coming-of-age drama. While she doesn't always hit the mark exactly, she at least shows great ambition, and she draws some lovely moments from her actors.
It's the twins' birthday at the film's start. Laurel has just lost her virginity, finally, and is enjoying a newfound rush of womanhood—that is, until Audrey swoops in and steals the spotlight, as usual, at their shared celebration. (The visual effects when Kazan is playing opposite herself are pretty seamless. They're also a great reminder of what a big difference a little eyeliner can make.)
Later, when the sisters are on their way back home from a trip into town, they get into a major accident in the family pickup truck that leaves Audrey dead and Laurel in the hospital with temporary amnesia. (Not a spoiler, folks—this happens pretty early.) Yes, this is a plot device, as is the fact that Laurel just got a sleek haircut which happens to make her look exactly like Audrey. (As is the fact that they were such strikingly polar opposites to begin with, come to think of it.)
Their resemblance is so great that the doctors and nurses believe Laurel's the one who died and Audrey's the one who lived. Even their own grieving father is fooled, and Laurel is just mixed up enough that at first even she's not sure who she is.
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