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Posted: |
Oct 7, 2002 - 9:52 AM
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By: |
Thor
(Member)
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I've wanted to see Atom Egoyan's opus magnum from 1994 for several years, but only got around to it a couple of days ago. I wasn't disappointed.
As with Ozu and Antonioni, Egoyan employs a subdued tempo to emphasize the apathy of the protagonist(s). The film does not so much contain an interesting story as it is a string of constrasting moods acquiring a dynamic through the incidental meeting of the characters. This dynamic is curiously realistic and unrealistic at the same time. Realistic in that reactions are more or less motivated, unrealistic in that everything comes more or less full circle. Intriguing concept.
I also love the way Egoyan leaves traces of future/past/parallell incidents seemingly random and unconnected in the plot - such as the search party scene (reminded me of Van Sant's TO DIE FOR). Another great move was the way Egoyan KEEPS BACK information, such as the Greenwood character (Francis) driving his friend's daughter home and handing her money. We automatically assume there's some kind of pedophilic activity going on - especially since it consistently follows the scene with Francis at the strip club "Exotica". It is only later that we realize there's something far more tragically going on, and a large degree of sympahty is reinstated into the Francis character. Marvelous acting by Bruce Greenwood, best known for his roles in NOWHERE MAN and THIRTEEN DAYS. Honourable mentions also go out to Elias Koteas and Mia Kirschner. This was an ensemble effort.
Adding to the downbeat atmosphere of apathy is the dim lighting and "greyish" daylight shots.
Lots of subtext. Francis even states the film's thematic outright when he's inspecting the pet shop - something about the heat and the exotic nature of the animals.
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Mychael Danna is one of the most innovative composers working in Hollywood. This is very evident in this one as well.
As usual, Danna employs arabic-sounding vocals and timbres, to give it an "exotic" and sensous feel. It is slightly minimalistic to coexist with the repetitative nature of the narrative.
I didn't really notice much of the music, except for the opening credits and the various source cues. Danna obviously spotted the film sparingly, to great effect. But it becomes an "organical" integrant of the film, since mood is such a prioritized effect. Suggestive.
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