But this Atom Egoyan dramatization proves to be reasonably compelling, notwithstanding the occasional contrivance, Firth's weak American accent, and the troubling sense of unresolvedness that continues to
hang over this tragedy turned cause célèbre.
Those Lonergan trademarks, once Margaret trademarks, now a signature: the protagonist's desire for a passive authority to behave in a way that we expect; inconsistent perceptions of self reflected not through the monologue or introspection, but through competing relationships; the hand of fate,
hanging over unprepared and unremarkable figures, like they've wandered unknowingly into Greek
tragedy.