By Tom McSorley
One among Canada's pre-eminent auteur filmmakers, Atom Egoyan has been celebrated across the world, incomes a number of awards from the distinguished Cannes and Toronto movie fairs and an Academy Award nomination. one in every of his so much complete and arguable early works, The Adjuster, is a gloomy drama in regards to the complicated and extreme dating among an assurance adjuster and his clients.
In this available research, Tom McSorley strains the genesis, creation, and reception of Egoyan's fourth function movie, from its Cannes movie pageant prime to its North American advertisement unencumber. The ebook locates The Adjuster within the greater context of Canadian cinema history's extraordinary and infrequently evolution, and gives a provocative interpretation of the film's specified research of the malaise of materialism in North American tradition. Richly illustrated and that includes new interview fabric with Egoyan himself, this learn within the Canadian Cinema sequence bargains an insightful assessment of 1 of Atom Egoyan's so much looking out, unsettling motion pictures.
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Additional resources for Atom Egoyan's The Adjuster (Canadian Cinema, Volume 3)
Artiﬁce is everywhere in The Adjuster. From the compulsive sexual theatrics of Mimi and Bubba’s ‘performances,’ to Noah and Hera’s mod- 56 The Adjuster: Labyrinths of Solitude el home with fake books on its bookshelves, to the abandoned development’s billboards depicting happy families and the notion of living in houses with titles that invoke (adding still another level of dislocation while slyly alluding to Canada’s colonial past) gentriﬁed life in rural England, to even Noah and Hera’s ‘marriage’ and ‘family,’ everything is artiﬁcial, not as it seems.
ATOM EGOYAN THE ADJUSTER dian ﬁlms made since. From the thwarted rebellion of the adolescent Peter in Don Owen’s Nobody Waved Good-bye in 1964 to the downbeat ‘miserablism’ of the ﬁlms of Don Shebib, particularly Goin’ Down The Road (1970) and Between Friends (1973), protagonists in English-speaking Canadian cinema are invariably defeated by fate, circumstance, or their own excesses of pride, greed, or more obscure personality defects. Many are downright delusional, like Rick Dillon in Peter Pearson’s Paperback Hero (1973), Max Renn in Cronenberg’s Videodrome (1983), Henry Adler in David Wellington’s I Love A Man In Uniform (1993), and virtually all of the lonely, drifting ﬁgures in the ﬁlms of Guy Maddin.
In other words, unlike the uber-‘loser cycle’ ﬁlm, Goin’ Down The Road (1970), with its ragged ﬁgures, Pete and Joey, who leave Cape Breton to strike it rich in Toronto but do not, Noah is not a failure as an insurance adjuster; the opposite is the case, to the point where he keeps an entire hotel ﬁlled with very satisﬁed clients who cheerfully greet him when he visits. Noah’s alienation is at once deeper and more obscure. He is, in Egoyan’s phrase, an ‘angel of rematerialization,’ a quasi-mystical or mythical biblical healer who will ‘render’ things right again.