Second Foundation

Rating: Null/10 (18 March 2011)

My two-word summary line demands elaboration. The greatest sci-fi author ever, late Isaac Asimov, published his Foundation Trilogy in three consecutive years starting in 1951 and culminating in 1953 with "Second Foundation". Interesting to note that the source of the screenplay of this movie, Philip K. Dick's short story "Adjustment Team", was published in 1954. While the two piece of fictional work have very different backdrops – the former set in millenniums in the future while the latter (and the movie inspired by it) is contemporary (i.e. the time of their creation) - there are remarkable similarities.
Second Foundation is a team of mentalist with a quest to keep on track a master plan (the "Seldon Plan") to ensure the survival and well-being of humanity. They have power to adjust human minds and events, but only at a minimum level lest the ripple effect leads to serious, adverse unintended consequences. This is exactly what the "Adjustment Bureau" does. While "Second Foundationers" come in all sorts of shapes and sizes, members of the "Adjustment Team" are uniformly male (insofar as the movie goes) similarly attired in banal business wardrobe topped with a feroda.
While there certainly must have been temptations to render the movie into a lofty dissertation of free will versus predestination, director George Nolfi wisely leans towards the other angle – a romance, or even rom-com if you shift your focus a little more to the witty rapport between high-potential politician David Morris (we're talking eventual presidency here) and super-talented ballet dancer Elise Sellas (potential leading world-class choreographer). According to the Adjusters' "book" they are not supposed to meet, but against all odds (or should it be "with the help of all odds"?) they meet by pure chance, not only once, or twice, but three times over a span of three years. Once the sparkle is ignited, no amount of intervention from the Adjusters can pull them apart in order that they can each follow their predestined path to lofty achievements. This is basically the plot.
In romance genres like this one, everything depends on the two leads and if they fail, nothing else can salvage the movie. Here, we have two that don't (fail, that is). Emily Blunt portraying Elisa does not have too big a challenge as the character is completely unaware of the plot complications. But she needs to be convincing as a young woman who falls in love at first sight and follows through with utmost devotion. With her fragile vulnerability nested in a bright, playful persona, Blunt is beautifully convincing. Matt Damon is at his best as the indomitable bad boy politician with a sympathy-earning underdog childhood. The scene of their first encounter is vital, a foundation upon which the credibility of the romance is built. Don't get distracted by the somewhat unorthodox venue of a men's restroom (which some critics make too much out of) but watch the pitch-perfect timing and delivery of the well written dialogue. Watch for the ignition of emotion and mutual attraction underneath the outwardly flippant exchanges. Blunt and Damon cruised through this vital scene effortlessly.
There is a fantastic trio of support of the three Adjusters. Playing Harry (The Good) is Anthony Mackie who gained general recognition with his performance in "The hurt locker". Always recognizable is John Slattery playing Richardson (The Ugly), not a bad guy by nature but simply a typical civil-servant type following orders and excelling in dealing with problems by "kicking them upstairs". "Upstairs" is my personal favourite Terence Stamp, ever since his performance as a young sailor in "Billy Budd" in 1962, that is, three years before his signature performance in "The collector" (1965). In "The Adjustment Bureau" he plays Thompson (The Bad), who is high up in the hierarchy but not quite at the top. The three of them add significantly to the pleasure from watching this movie.