Adoração

Atom Egoyan's latest feat, "Adoration", features among Egoyan's most profound work, and it is also one of the best independent or underground films you can rent this year. Now, you might be wondering how I can call a film by Atom Egoyan 'underground', when he's one of the most renowned directors in the world. It's precisely the same question I asked a fellow critic of mine who recommended it, and now that I've seen it, I have the answer: It features a large cast of 'unknowns' (with the possible exception of Scott Speedman), a large crew of unknowns, it features a small budget, it's artsy...but most of all, it aspires and tries to be overwhelming at its impact and appealing to the masses, and it fails to be either at the end. Not even the seal of recognition from the Cannes Film Festival in 2008 saved this film from being on a short release during the winter of 2009 and from finally emerging on DVD, at the end of the same year.

But please, bear with me. The film deals with a teenager called Simon (Devon Bostick) who's written a fictional monologue where his father left his pregnant mother on a plane and hid a bomb on her carry-on bag, which is discovered by the authorities and which foils his plans of terrorism. Prompted by Sabine, his French teacher (Arsinée Khanjian), he makes his classmates believe the story is true, and publishes it on an Internet chat room which makes thousands of bloggers go crazy on the subjects of terrorism, victims, love, recognition, the value of life, etc...all of that, prompted by his story. Simon is scared to find out how much of his fictional story is true, since for some reason it has a familiar ring with some images of his past. So he decides to make a video diary where he films the bloggers who heatedly comment on his story, and who provide him with the necessary 'mind fuel' to deduct whether his father actually WAS an assassin, whether his mother was his victim, whether his grandfather (Kenneth Welsh) polluted their memory and whether his uncle (Scott Speedman) is hiding something.

I know, it sounds like a complicated storyline...and it is. There are infinite separate plots (each character has ulterior motives, an agenda, and a haunting past which establishes their present personalities), and the film is given to us in puzzle pieces, with the separate scenes jumping from present, to future to past...to imaginary present, future and past...all of this to a point where you won't understand a thing you see on screen if you're not fully concentrated. I was, thankfully, and I found it easy to keep up with so many plot lines, and as the film progressed and I discovered more details and secrets every second, I felt my heart pounding and my palms sweating from the tension and the heavy drama on screen. THAT'S where the film is genius; on the way it uses an intelligent and complicated plot perfectly, and on how it reaches over to the audience.

The film IS good, it is very very good, actually, but it tries to exceed its own potential, giving way to a large amount of unfinished plot twists, undeveloped characters and confusing situations. Stories begin to fit in together, resolutions are being taken, and by the end of the film the principal characters have all found catharsis in their own way...but what about the infinite number of other characters the film presents? They're all left behind, with no completion whatsoever. SO many topics that were effectively handled and most of them weren't developed! The main characters (Simon, the French teacher, the uncle, the grandfather and the parents) have incredible depth, and halfway through the film you're convinced that this might just be THE deepest and most intelligent film of the decade...but soon after that, the film is over and only the superficial plot lines where resolved, only the surface of the characters came full circle. It's one of those movies where the credits start rolling and you say "It's over?! But what about the...", then you start making so any questions, and you start coming up with so many answers, all of them giving birth to more questions...until you have no idea what you're even coming up with.

Perhaps this was Egoyan's point, to keep us thinking and thinking until our thoughts seem to have detached from the film itself; it's a good thing to do- to have your public ponder so much- but it's bad when it affects the movie. Like I said, it tries to overreach, it goes literally everywhere with so much plot that OBVIOUSLY there are going to be mistakes and plot lines will be left unsolved. But even through these flaws, the film delivers interesting messages, it gives us a couple of memorable characters and a story (however complicated it may be) that entertains and envelops the viewer. And even if the balance of the film slowly shattered at the end, for most of the duration it was maintained, giving the viewer a very rewarding hour and forty minutes of viewing experience.

If you love artsy, independent films- see it. If you're tired of mainstream Hollywood brainless flicks and want something new- see it. If you love Atom Egoyan or are planning to introduce him into your cinema knowledge- see it. If you're expecting to see a paramount in independent cinema that transcends our expectations on the seventh art- skip it. This is very good, but not great. Nevertheless, I still recommend it.

Rating: 3 stars out of 4!

There is not much to say about this convoluted story. Its based on a real event. It relies on lots of talk and minimal action. Atom Egoyan had full control in making this film, from writing to direction. The main pluses are the performances of the principal three of the principal actors. The main negative is the questionable use of "technology", particularly of teenage chat rooms, of older people chat rooms, of video cell phones and so on - the focus of these internet & tech based products is to present talking heads by other means. There is also a violin, which is the one major non-tech focus of the story.

There is no doubt that this film has potential. It has the making of a compelling plot, given its built in twists, turns and periodic surprises. Could it have been presented in a more exciting and direct way? Maybe not given budget considerations, which are so obvious.

At an early point, the movie takes on that feeling of seeming to go on and on and on. But, there is an interesting, underlying story. And Egoyan is a skilled and always worthwhile filmmaker. So, one persists watching, with some judicious use of occasional fast forwarding of the DVD (particularly the seemingly endless, ridiculous multi-channel computer talkfests). The film has craft and is a serious endeavour. But in the end, it is boring. And boring is boring.

Atom Egoyan's Adoration weaves a complex tale of a young man searching for the truth about his family by perpetuating a lie in order to witness its consequences. Simon (Devon Bostick), a young high school student, tells his class that his Lebanese father Sami (Noam Jenkins) was a terrorist who attempted to blow up a plane with a bomb carried by his pregnant wife, Rachel (Rachel Blanchard), a talented violinist. In his presentation to the class, Simon says that he is the unborn child, his mother was the innocent being led to her demise, and his father was the killer out to murder 400 innocent people to promote a cause. The only problem with the story is that it is not true. The incident never happened. The film exposes the ease with which people are willing to accept what they are told without question and how modern technology has become a useful tool for those eager to disseminate falsehood.

According to the director, the film is "about people dealing with absences. He (Simon) imagines having a father who is a demon; he wants to go as far as possible into what that might mean." Adoration begins with an indelible image – a young woman standing at the end of a pier overlooking a river playing the violin while her husband and young son watch in awe. Moving forward and backward in time with great ease, the film slowly constructs the events which have led to Simon's school confessional. The key player is Simon's French teacher Sabine (Arsinée Khanjian) whose own family was killed in Lebanon by a terrorist attack. Sabine reads an article to the class about an incident that occurred in 1986 in which a Jordanian man, Nezar Hindawi, sent his pregnant Irish girlfriend on an El Al flight with a bomb in her handbag, of which she had no knowledge until it was discovered by Israeli airport security.

Heavily influenced by his bigoted grandfather Morris (Kenneth Walsh) to believe that his father intentionally caused his mother's death in a car crash, the vulnerable Simon constructs a parallel between the article read by his French teacher and the death of his parents. On his own, Simon posts his fake story on the Internet and has to deal with emotional responses from holocaust victims, holocaust deniers, students, and professors talking about terrorism, martyrdom, and heroism. It is a discussion that often sinks to the level of victimization as portrayed by veteran actor Maury Chaykin who blames the bogus airplane incident for "ruining" his life. Simon's uncle, Tom (Scott Speedman), who raised the boy after his parents' death, acts as a mediator between his nephew and the teacher who encourages Simon to tell his fake story in the school auditorium.

Tom is a tow truck operator with a short fuse who harbors a deep resentment against his father for the way he was treated as a child and his encounters with Sabine contain some of the film's most intense moments. Aided by a tenderly evocative violin-prominent soundtrack by Mychael Danna, Adoration is an intelligent and imaginative study of family conflict and reconciliation that serves as a compelling probe into human behavior and the ability to distinguish between fact and fiction. Though it contains a great deal of ambiguity and character motivations tend to be somewhat mystifying, Adoration is a very involving film with performances that are uniformly excellent, particularly Arsinee Khanjian as the emotionally-damaged teacher and Speedman and Bostock who provide enough tension to keep us riveted throughout.

Atom Egoyan is a very skilled filmmaker that is exploiting a stereotype of the older white person's racism against a Lebanese son in law. Old white people are easy to pick on, Hollywood routinely allows this because there is little criticism generated from it. Does that mean this is right? I don't think so.

The film implies that a group of people (older white people) are "monsters." Maybe Atom has experienced racism from white people because of his Egyptian father, I get the feeling that he hates me for being white and 54 years old. I give Atom a 10 for the skill in making this film, he gets a 0 for the subject.

A teenager (Devon Bostick) who was orphaned after the tragic deaths of his parents is prompted by his teacher (Arsinee Khanjian) to deliver a fictional monologue about his father's failed terrorist act as fact in an elaborate "dramatic exercise" in Armenian-Canadian auteur Atom Egoyan's latest thought-provoking piece of abstraction "Adoration". As the fiction spins out of control over the internet, the true motives of those involved in the lie are revealed and back-stories come collapsing in on each other in Egoyan's signature elliptical style.

Egoyan, as always, gives patient viewers plenty to chew on. Like the young man's monologue that marries a true story to a false one about his parents, "Adoration" itself is an interesting dramatic experiment designed to provoke. It tackles many issues including the motives of terrorists, fractured familial relationships, the hollowness of alleged connections made through modern technology and the dangers of thinking those connections can replace real face-to-face human interaction. Though I always question Egoyan's motive in casting his wife Arsinee Khanjian in his films, in many ways, she gives her most understated and powerful performance here. Bostick does a decent job with a tough role, though Rachel Blanchard is curiously flat in the flashbacks as his mother. The true revelation is Scott Speedman as the troubled tow-truck driver who reluctantly steps in to raise his sister's son after she dies. His story arc proves to be the most involving, though one wishes his background had been more developed.

The bizarre detour into sleazy mediocrity with "Where the Truth Lies" seems to have made Egoyan a little rusty as he returns to a more familiar form here for those who have been watching the arc of his career. The elliptical folding in of the converging plot lines seems clumsier in "Adoration" than it did in his earlier works, and the "big reveal" comes a few scenes too early and sucks out the emotional impact. Unlike "Exotica" which had the swagger of a young auteur at the top of his game, or "The Sweet Hereafter" which came from the sublime source material of novelist Russell Banks, "Adoration" represents Egoyan bruised from years of wear left to his own devices. Though compelling, he gets the best of himself and let's the ideas take over the characters. He also relies far too much on visuals of non-characters in chat rooms or of people being recorded with cameras. However, Egoyan scores when Mychael Danna lends his musical compositions. The frequent collaborator does a magnificent job creating a haunting score with a recurring violin motif that plays integral to one of the back-stories.

Back in the late 1990's Atom Egoyan was in a league of his own and master of his own style. In the past ten years, however, international cinema has seen the emergence of filmmakers like Mexico's Alejandro Gonzalez Inarritu ("Amores Perros", "21 Grams" and "Babel") and Germany's Fa-tih Akin (whose superb "The Edge of Heaven" deserved a bigger audience stateside last year). They often tackle similar themes in an elliptical Egoyanesque manner. But because their films are presented on a larger scale and infused with a certain energy and immediacy, Egoyan's films, in all their isolated scholarly austerity, have been unfairly left out in the cold. "Adoration" may not be Egoyan's best, but it proves he still has some good ideas in him and he isn't ready to be dismissed just yet.