Chance and fate are like twin sisters; biologically related but far from identical. They are concepts we all know and experience day after day. Yet their effects fluctuate so wildly that no human being can define, prove or explain what exactly they are, or indeed confirm their existence with any certainty. The best, most brilliant minds throughout history have focused their attention on these beguiling, fascinating, unknowable sisters at some point. Everybody, from genius to crack addict, ponders the cruelties of chance, the favours of fate.
Was it chance that brought the girl of your dreams out onto the street in front of you? Was it just bad luck that you were spitting out your gum at the time, so that she walked head on into a potent projectile of sugared saliva and masticated goo? Or were you doomed to failure? Manipulative Miss Fate may have singled you out as her joke of the day. Then again, perhaps she was just redressing the balance after she took out the lights in the bar that time. Your powers of attraction increased tenfold in near darkness, allowing you to raise your standards considerably. That girl, let’s say Linda, barely noticed the peculiar crook of your nose, for instance, or the irrepressible leering tint to your eyes. But then again maybe there’s no balance at all, no order. Maybe it’s just Miss Chance, a bored, daydreaming secretary at her desk, absentmindedly jabbing at her keyboard.
Often the only way we can begin to explore or talk about these sisters is through storytelling. And George Nolfi’s first feature film as a director, The Adjustment Bureau, is fairly explicitly about the human relationship between our free will, each and every choice that we make, and our fate, the possible destiny that may be already determined for us, laid out beyond our control. The Adjustment Bureau is also a film that can claim to be a “sci-fi romantic thriller”; a distinctive and intriguing description of any story.
Indeed ever since I saw the trailer for The Adjustment Bureau I have been anticipating a thoroughly different blockbuster. Several of Phillip K. Dick’s stories have been taken on and adapted by Hollywood, and several more such as The Man in the High Castle (an alternative history of the Cold War), would make excellent movies. Dick had a knack for capturing fascinating science based or philosophical questions, within a captivating narrative framework that really made you think about the issue. Apparently Nolfi has expanded considerably on Dick’s short story, Adjustment Team, for this project, and that may account for some of its failings.
Numerous reviews have pointed out the plot holes in The Adjustment Bureau and lamented its implausibility. For a film marketing itself as exciting, the lack of engaging thrills has also been highlighted. It’s certainly something that requires a greater than usual suspension of disbelief to really enjoy it. However, critics have also been quick and correct to heap praise upon the performances of the two leads.
In interviews Emily Blunt and Matt Damon have talked of how they “dicked around” on set and tried to transfer some of this interaction, this genuine banter, to the screen. It’s a technique that worked tremendously well. Much of Nolfi’s dialogue in this film is good, but inevitably when trying to encompass such grand themes and deal with an issue like love at first sight, the odd passage is clunky, cliché and cheesy. These bad moments have the potential to seriously deflate the quality of a film. But Damon and Blunt’s brilliance ensures that these dances with disaster become strengths. Whenever an emotional speech is about to over step the mark, one of the characters, usually Blunt’s, makes a jokey remark to both lighten the tone and preserve the intensity of what went before. With such sensational plot components Blunt and Damon’s incredible, immense believability and appeal makes the romantic element of the story feel constantly real and affecting.
Damon in particular is excellent as the focus of the tale and adds another impressive notch to his CV. He appears to have truly arrived as a top Hollywood leading man. Here he plays up and coming senator David Norris, who concedes a mammoth lead in the polls thanks to some revelations about his wild shenanigans in the past. It was a step too far for voters, who had been willing to back the fresh faced, young and local candidate. Damon is completely convincing as a politician passionate for change but disillusioned with the system he must embrace to achieve it.
Underneath it all, Norris just wants company and affection, and this Damon portrays well too. In the Gents after his election defeat, he bumps into Elise, a contemporary ballet dancer. After an odd (but believable!) first meeting, Norris is as infected with the chemistry between them as the audience is. He abandons his conservative losing speech in favour of a frank, electrifying exposure of behind the scenes campaigning and the nature of politics as a whole. His popularity sky rockets (one of the film’s multitude of interesting ideas and points is how the public wants honesty in politics but good men are continually stifled from being themselves).
However when Norris tries to pursue his instant infatuation with Elise, he’s warned off by mysterious looking types in 1950s style period suits, wearing silly hats. This is The Adjustment Bureau; the people that make things happen according to plan. They are not all powerful, as they appear to be governed by their own set of rules and frequently require greater levels of “authorisation”, but they can flit about New York City by teleporting through doors and predict the choices you make. John Slattery, Anthony Mackie and Terrence Stamp, all give decent performances as agents of this supernatural organisation.
The dated look of the agents has come in for considerable criticism; but I rather liked it. Whilst the film could be more thrilling, it’s refreshing to watch a blockbuster that’s still exciting and engaging without being stunt heavy. The focus is not on the action but on the plot and the romance between Elise and David. As for the plot holes, especially increasingly silly ones towards the end, these are probably due to the fact that The Adjustment Bureau is ideas heavy. Sure some of these musings on such debated subjects as the limitations of free will, determinism, God, chance and love are far from subtle. But to me that doesn’t matter, especially given the convincing chemistry at the heart of the film driving it forward as the narrative focus. It’s extremely admirable, valid and bold to make a mainstream film about any of these ideas at all. The Adjustment Bureau will get you thinking and talking about them, and hopefully exploring these fascinating areas further.
Besides, in my opinion, not all of the film’s ideas are as flat and basic as some reviews would have you think. The corporation like structure of The Adjustment Bureau for example (with God referred to as The Chairman), made an extremely relevant point about the limitations of our free will today, in supposedly completely liberated western societies. We no longer realistically worry ourselves with tyrants and dictators, but money, class and big business can substantially shape our paths through life and the hold the powerful keys to turning points in our destiny.
I applaud the abundance of ideas in The Adjustment Bureau then, even if it could have been a better film. Because of all the talking points and its compelling romance, it is still a good and worthwhile watch. Perhaps the most resonant, but also cliché, point that it makes though, and chooses to conclude with, is that love is worth fighting for. Whatever uncontrollable obstacles life throws in the way, be it distance/geography, illness/injury or rivals/opponents, love can be enough and worth holding on to. No matter what.
Oh god. Did I actually just type that? Shoot me now. Yes their performances really are that good.
Posted in Uncategorized
Tagged 50s, acting, action, Adjustment, aftermath, applaud, Aristotle, authentic, award, bad, ballerina, ballet, bar, believable, Blade Runner, blockbuster, blog, blunt, Bourne, Bradbury, Bureau, Business, cameos, chance, charming, chat, cheesy, chemistry, chewing, choice, cliche, Cold War, Collinson, Comedy, compelling, contemporary, convincing, cool, corporation, cute, Daily Show, Damon, dance, darkness, David, debated, debut, decisions, destiny, determinism, dialogue, dick, dicking around, different, Do Androids Dream Electric Sheep?, doors, drive, embarassing, Emily, ethics, exciting, fashion, fate, faults, feature, fight, film, first, Flickering, focus, framework, free will, funny, Gary, George, god, goo, good, Guardian, gum, hard, hats, holes, Hollywood, Hume, ideas, image, incident, Jason, John, Jon Stewart, K, Kant, leads, Leibniz, Liam, liberty, line, losing, love, luck, Mad Men, manhattan, masticated, mate, Matt, meaning, method, Minority Report, mix, Money, movie, musings, myth, narrative, new, New York, Nolfi, Norris, novel, pacing, path, performances, perhaps, Phillip, philosophy, Ping, plot, points, policy, Politics, postwar, praise, Ray, resonant, Review, romance, route, sci-fi, screenplay, script, Senator, set, sex, sight, sisters, skyscrapers, Slattery, soul, speech, Stamp, statue, story, Street, stunts, style, suits, superb, symbol, talking, technique, teleport, Terrence, The, The Man in the High Castle, thinking, thriller, ties, toilets, top, Trim, turning, tv, twists, UK, Ultimatum, up, valid, Verdict, water, Webb, winning, worthwhile, writing
I could not bring myself to write directly about England’s World Cup exit and this is despite the fact I did not expect our national side to progress. The manner of defeat though was so utterly deflating that all previous hopes of progress and improvement over the qualification campaign were dashed. Rightly questions were immediately asked about Capello’s future as manager in the fierce post-mortem examination of England’s World Cup and wrongly in my view the FA have hastily confirmed his continuation as coach.
This is not to say that I don’t recognise the arguments in favour of Capello or indeed any foreign coach. Personally the most persuasive argument is the lack of high calibre home grown coaches. The English choices touted as potential managers the last time the job was vacant were uninspiring to say the least, with the list headed by Sam Allardyce, a man who missed his big chance with Newcastle and whose primary strengths, for example shrewd transfer dealings, would appear useless away from the everyday grind of club football in the leagues. Harry Redknapp has similar drawbacks, despite admittedly having a more proven track record and others mentioned all had their own fatal flaws, such as Stuart Pearce’s inexperience. With such limited options the FA’s decision to look abroad for greater pedigree to ensure results can be understood, although in both the cases of Eriksson and Capello it has baffled me that they should opt for managers successful primarily in club football, when England’s problems have always been related to the unique performances required at the tournament itself. Both foreign coaches have fallen at this final hurdle thus far, as English coaches before them always did.
Another argument supporting the utilisation of foreign coaching talent in general is the fact that the English game has a problem when it comes to technical quality. The World Cup finalists this year, Holland and Spain, have shown that technical ability can enable teams to achieve the ultimate prize without playing to their full potential. It has been extremely frustrating for me to watch the Dutch, a team I have publicly backed to do well at each recent tournament besides the South African World Cup, march to the final. However it has been equally infuriating to hear pundits continuously talk of below par Dutch performances, when in every match I have seen them their ball retention has been effortless. They also have several players with a creative cutting edge and a steady, experienced defence, shielded by an immovable Van Bommel in the heart of midfield. The men in orange have rarely played poorly at this World Cup, it is merely a sign of their quality that it is evident they could play so much better to many watching them. The Spanish too, perhaps even more so, have underperformed but still find themselves in the final courtesy of complete mastery of possession.
So if foreign coaches can bring with them a vital essence of technique from their country of origin they might be worthwhile. Capello for example was expected to improve England’s passing ability and defensive strength as an Italian. However against Germany England were undone by a lack of professionalism and a neglect of some of the basics of the game, areas Capello had supposedly sorted with his approach to management. Indeed at times England matched the Germans and there was a moment the momentum seemed to have swung our way, but such hope all too easily disintegrated. I believe England’s exit exposed a fundamental truth about the actual ability of our footballers and the futility of quick fix solutions; technical deficiencies in our players can only be eradicated at a grass roots level and if they are to be dealt with at the top then an English manager could do just as good a job.
The key argument for Capello himself carrying on in the role is harder to dismiss than the broader issue of foreign managers though. Prior to the tournament itself and its immediate build-up, Capello had successfully rebuilt national belief in the team and instilled a winning mentality with an effortless qualifying campaign. He also missed opportunities to experiment and therefore go to South Africa with a stronger hand as I have previously pointed out, but nonetheless he achieved qualification, something his English predecessor did not manage. To axe Capello too swiftly following the defeat to Germany would have broken a continuity that had been hard to re-establish. Decision makers at the FA would have wanted to avoid a knee jerk reaction to events resulting in the wrong appointment and another failed Euro qualification campaign.
However those urging to play it safe and stick with the expensive failure may live to regret their caution. The inaction and delay meant that Roy Hodgson, in many ways the perfect blend of culture, proven management in a tournament environment with limited resources and a truly English view of the game, slipped through the net to Liverpool. The argument for continuity is in my view blown apart by both the age of the squad and the failure necessitating something new; fresh legs and ideas. Ultimately employing a foreign coach for our national side can only be justified by success and there is no doubt that the achievements of Eriksson and Capello cannot be rated as such, even if they better the attempts of recent Englishman. Any top flight English manager is capable of achieving the same tournament finish notched by Capello and would do so with pride and passion representing his country, striving for the absolute best. For all Fabio’s touchline gesticulations he could not feel our national anguish. If the FA do continue to employ foreign coaches they may as well pursue those Premier League players that express a desire to play for England and apply for citizenship, despite having no English family link. They may as well surrender control of the national side to the Premier League and concede it is all about profit and that club football really does exceed international ties in terms of importance. They have missed an opportunity to lay the foundations for long term international success that plays to our strengths and can be proudly boasted of as an English accomplishment, not mocked by our opponents as the brainchild of an icy continental tinkerer.
Posted in Uncategorized
Tagged 2010, Capello, Cup, England, English, FA, Fabio, failure, football, Hodgson, Holland, Italian, Manager, Robben, Roy, soccer, Tactics, technique, World