A struggling actor's job as a hotel custodian is a front for his real job: being rented out as a gigolo by his supervisor. A co-worker is obsessed with him, but he ignores and avoids her. ... See full summary »

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Cast

Cast overview, first billed only:
...
Lance
...
Lisa
...
Tony Nardi ...
Eddy
David Hemblen ...
Producer
Patricia Collins ...
Housekeeper
...
Father
...
Bride (as Jackie Samuda)
Peter Krantz ...
Groom
Patrick Tierney ...
Eddy's colleague at video store
Robert Dodds ...
Doctor
Leszek Lis ...
Friend of the Housekeeper
Sharon Corder ...
Hotel Manager (voice)
David MacKay ...
Man at the Party
Teresa Hunt ...
Women at the Party
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Storyline

A struggling actor's job as a hotel custodian is a front for his real job: being rented out as a gigolo by his supervisor. A co-worker is obsessed with him, but he ignores and avoids her. He leaves his acting resume in the hotel room of a screenwriter, who is casting for a TV movie based on the true story of her deceased brother. She hires him to play the lead and the two begin an affair. She becomes increasingly distraught as it becomes evident that the movie's producer is changing her story. Egoyan's trademark tangle of bizarre relationships surrounds the protagonists on their way to a mind-blowing conclusion. A hypnotic, fascinating film. Written by Marty Cassady <martyc@vt.edu>

Plot Summary | Add Synopsis

Taglines:

Love - Passion - Obsession

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Drama

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Release Date:

27 July 1990 (Netherlands)  »

Also Known As:

Role mówione  »

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Box Office

Budget:

CAD 350,000 (estimated)
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References The Long Riders (1980) See more »

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4 January 2011 | by (United States) – See all my reviews

The celebrated Canadian/Armenian filmmaker Atom Egoyan again trains his voyeuristic gaze on the numbing influence of video technology, showing some of the ways it can be (mis)used to short circuit human emotions. Egoyan's typically oblique and (deliberately) disjointed story of psycho-sexual obsession follows two women, a passive, repressed hotel maid and a frustrated screenwriter, both infatuated with the very same obscure object of desire: a narcissistic gigolo/actor looking for his first 'speaking part'. The scenario is more than a little contrived (among other plot holes is a never accounted for corpse), but the patchy script is offset by the director's eye for imagery and by some of the deadpan ironies of his observations (a video morgue, safe sex via closed-circuit TV, and so forth). Egoyan was one of the first movie makers to locate the real connection between sex, lies, and videotape, but the impression left here is of a talented director capable of something much better.


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