In the film, The Adjustment Bureau directed by George Nolfi, our main protagonist, David Norris, battles his profound love for Elise against the odds of his planned fate. Nolfi uses a range of film techniques such as lighting, camera angles and sound/music to develop the main idea that if you work hard enough you are able to control your fate and have freewill. George keeps us hooked with the concept of a classic love story with a modern and philosophical twist. 

The utilisation of lighting is key to communicate times when the power of David’s fate is being used. Throughout the movie when the Adjustment Bureau has authority over David, the lighting is very low-key, dark, grey and gloomy. These tones may also express David’s emotions as he feels unhappy and controlled when contact with Elise is prohibited. We as humans naturally associate bright colours and warm lighting with peace and happiness. When these colours are used in the film, it creates a sense of hope from the viewers for David’s fight against his outlined fate. By doing this we develop an emotional attachment to David and want him to succeed, which leads us to watch more of the film. Every time he gains control and dominance of his own choices of destiny the sun begins to come out and lighting is switched to high-key, golden tones and colours. This is largely displayed in the end scene where David and Elise attempt to find and ‘defeat’ the Chairman by convincing him to rewrite their fate. The sun begins to shine over the buildings of New York as they kiss, the Adjustment Officers disappear and more bright vibrant tones are shown on screen, establishing a feeling of a ‘happy ending.’

Camera angles are a primary example of how the director portrays the main idea in the end scene. An eye-level angle creates an idea of neutrality and balance between characters and that there is no other more powerful being present. In this particular scene when David is left in control of his fate, both he and the Adjustment Officers are filmed at eye level. When speaking to each other and discussing who holds the influence of choice and control over David and Elise’s future, this angle is continued to be used. We learn that the bureau no longer has power over David’s love for Elise and that he has finally gained freewill of his choice to pursue their relationship. By using this technique alongside the lighting works together to show us the switching of control during the film.

Movies are a great way to share philosophical discussions and ideas to spark questions for viewers. The Adjustment Bureau creates one main question, do humans have a choice over their fate? George Nolfi suggests possible answers to this question through sound and music, such as monologues in the movie. Atop a New York building, Harry reveals to David and Elise that “the Chairman comes in a different form to everyone, so people rarely realise when it happens.” This statement proposes a somewhat religious approach that perhaps we do all have our own Chairman, an invisible higher power or deity that decides and regulates our fate, but each and everyone is different in how it is presented. The music cooperating with Harry speaking constructs a sense of importance and triumph in what he is saying. He also states in his end of film narration that “free will is a gift you’ll never know how to use until you fight for it,” suggesting that humans are indeed capable of withholding free will and power of choice although is usually takes determination and persistence. David and Elise’s actions reflect this as Harry also mentioned that the two protagonists’ ambition and willingness to risk everything for each other inspired the Chairman to reconsider their fate and let them rewrite it.

In conclusion, this evidence tells us that the main idea of free will and power over fate can be earned and is possible, but comes with dedication and hard work. This concept provides a thorough plot and outcome of David’s struggle and resistance against a powerful organisation’s attempt at preventing him from following his love for Elise that seemed simply ‘meant to be.’ Director George Nolfi presented the idea with utter detail from beginning to end with lighting, camera angles and sound/music. Viewers can relate this to real-life situations where we may have to fight for the ability to choose the course of our own lives. The film also expresses religious beliefs that a god/gods (in this case the Chairman and Adjustment Officers) or some sort of higher power, controls everything that occurs. Overall, Nolfi leaves us to decide on our beliefs on the ideas and philosophy presented on the screen. The Adjustment Bureau certainly gives you something to think about and consider.

By Sophia