If, as I am occasionally wont to do, you search for fate on thesaurus.com, you’ll be thrown the usual slew of synonymous terms: chance, circumstance, fortune, karma, kismet, predestination, providence. Add to these an unusual one that best sums up the entire plot of George Nolfi’s The Adjustment Bureau - inescapableness. Based loosely on the Philip K. Dick short Adjustment Team, this film tells the story of Matt Damon and Emily Blunt falling madly in love in the wrong place at the wrong time, because that’s not the way the powers that be planned it. It’s a high concept romantic drama about knowing your place in the world, and knowing that others knew it first. Shame then, that this film just doesn’t know what to do with itself.
It all starts very well, with Matt Damon’s senatorial hopeful David Norris on the campaign trail, winning favour as a Kennedy-esque hotshot, only to see it all fall apart after one too many pranks and misdemeanours come to light. Alone, in the gents, he practices his concession speech, but discovers British dancer Elise hiding in the stalls. They swap words, she gives him some advice, and… swoon, they fall in love and fall hard. Given this rather unorthodox rendezvous, it’s one of the major strengths of Bureau that you’ll believe the romance completely, and even be willing the couple on as fate intervenes to tear them apart. Literally.
Yes, it won’t be long before mysterious men in hats and trench coats pop up around the place, looking po faced and distinctly like extras (and leads) from Mad Men, carrying something between Nostradamus’ Moleskine and Mystic Meg’s iPad. Oh, those troublesome sweethearts are off plan, and the people who pull serendipity’s strings are not happy about it. And they’ll spend the rest of the screen time trying to tie up loose ends by doing anything it takes to keep David and Elise apart.
First and foremost, the romantic half of this film comes up trumps and that is thanks, in no small part, to the winning performances of the leads. Damon and Blunt sizzle on screen, having the kind of chemistry typically associated with classic silver screen couples. He balances Norris perfectly, playing him as a grafting overachiever, with a foolhardy streak that won’t listen to common sense. Blunt’s Elise is sardonic and sexy, hiding previous heartbreak behind her free spirit, but escaping that kooky cutter mould of “alternative female” so commonplace at the cinema. Above all, however, the pair will charm you, and writer/director Nolfi has found an attractive duo to do so.
Plot Spoilers Ahead
But cracks begin to appear in the Adjustment part of this thriller, with ironically too many plot holes to pass muster. The men in hats – it’s never made clear who exactly they are, or indeed what omnipotent force is forcing fate’s hand – are portrayed as supremely powerful and immortal. Yet the one on Norris’ case file lets a massive blunder in life’s plan happen when he accidentally dozes on a park bench. They tell Norris he was never supposed to see Elise again, knowing that he’s a media savvy guy, and that Elise is destined to become a world famous dancer. Surely he’d eventually Google her, or bing his way to asking Jeeves, or something?! Then there’s the fact that the fickle finger of fate’s greatest weapon is a fedora. Yes, those hats don’t just look dapper, they’re also magic. But the kind of magic that would get sorted into Hufflepuff, if you know what I mean.
Plot Spoilers Over
It’s all a bit lacklustre at the end, not knowing where to go or what to do with itself, I’m afraid. The first half is a classy and engaging drama, with winning performances and chic styling. But the second half is unable to escape its own premise and pretty much has nowhere to go. You may be able to outrun your fortune, but a film unfortunately can’t outrun its own story.
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