As a seasoned moviegoer who has seen his fair share of corporate espionage thrillers, let me tell you that “Relay” is truly a breath of fresh air. The unique use of the telecommunications relay service to maintain anonymity and protect whistleblowers adds a layer of intrigue that is both gripping and innovative.
In David Mackenzie’s latest thriller, titled “Relay,” which debuted at the Toronto International Film Festival yesterday, the relay system alluded to is the Tri-State telecommunications relay service. This platform enables individuals who are deaf or hard-of-hearing to make phone calls using a texting device and an operator. The user types their messages on one end, and the operator reads it out to the recipient on the other end. In “Relay,” this service is utilized for maintaining anonymity by a man (Riz Ahmed), whose real name may be Tom, Ash, or something else. This man is a calm, meticulous professional who assists whistleblowers who have had second thoughts about their actions. These individuals have stolen secrets from their former companies but now wish to return to normal life. To achieve this, they must contact their company, return what they’ve taken, and secure some form of assurance that they won’t be pursued by any hired thugs. Ash and his associates offer this assurance in exchange for substantial payments from both parties. He serves as both a foot-soldier and a guardian angel, being both quiet and ruthless.
To put it simply, this idea for a corporate espionage thriller titled “Relay” is absolutely brilliant! Since many audiences might not be familiar with relay services, the movie offers an engaging exploration of their workings as one of its intriguing aspects. Moreover, it introduces a unique method for keeping the main characters separated while still allowing them to communicate. In the film, Ash takes on a job for Sarah Grant (played by Lily James), a scientist who has stolen a significant report revealing the harmful effects of genetically modified crops from her employer. To avoid any further trouble and return the report, she hires Ash. Meanwhile, it becomes evident that Sarah is being followed by a group of thugs led by Sam Worthington, which adds an extra layer of tension to the storyline.
In the movie, an unusual device called a telecommunications relay adds an intense ambiance unlike any other. Each time Ash calls Sarah, his words are spoken by different individuals, strangers who convey his messages with their unique intonations. The faces of these speakers appear on screen, leaving us to wonder if they’re concerned, indifferent, or maintaining a professional demeanor as part of the job. Since we don’t often hear Ash’s voice in the first half of the film, it only adds to his mysterious allure, both for Sarah and for the audience. Although she never sees him, we do. There’s even a scene where they communicate using sign language inside a market, leaving us to question whether one is deaf or if they’re merely trying to avoid eavesdroppers. The film skillfully instills feelings of paranoia through both its eerie atmosphere and plot developments. This is significant because it means we never truly know who might be watching us or where, and in today’s world, it’s prudent to assume that we’re constantly being observed.
Mackenzie’s professional journey has transitioned from flamboyant styling to more subdued productions, making it challenging to categorize him as a specific artist. At his finest, as in films like “Hell or High Water” and “Perfect Sense”, he manages to suppress the extravagance without losing his unique directorial touch. In “Relay”, when Ash talks to Sarah, he’s typically shot up close, enveloped in the hazy glow of urban neon; his world appears confined. Conversely, Sarah is usually filmed from a distance, with her surroundings clear and numerous screens present; she’s exposed. The contrasting shots subtly impact our minds, emphasizing the characters’ precarious situations while fostering an emotional connection. Sarah finds solace and safety in Ash; he sees companionship in her. Initially, his seclusion might seem beneficial, but it progressively portrays him as lonely, pitiful, a man who has given up his identity for his work. It’s no wonder that “Relay” draws heavily from several Michael Mann films. The movie transitions from suspense to something else. It’s not a classic love story, yet it is a romance – a melancholic, alcohol-drenched, defeated one, characterized by clasped hands, quiet goodbyes, last looks at departing trains. This is the stuff of genuine cinematic yearning.
For a short while, Mackenzie and his cast gracefully maneuver through this drama, making even the predictable, run-of-the-mill conclusion seem more disappointing. The specifics aren’t essential, but “Relay” is an exceptional movie where I’d suggest exiting about ten minutes before the climax. Or better yet, chop off the ending, transform it into a series premiere – I’d embrace that too. The film’s overall quality is so impressive that any ending one might envision would likely surpass what we eventually see. However, up until then, it’s truly remarkable.
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2024-09-10 02:54