By Tom Elce • Feb 18th, 2008 • Filed under: Film Review, Hollywood, Movies, The Great Oscars Race, featured

Tom Elce reviews Atonement, the winner of BAFTA award for best film and a strong contender for academy award for best motion picture

“Atonement” wants to be an encompassing romantic epic to be mentioned in the same breath as classics like “Gone With the Wind” that ironically doesn’t give the centric romance much oxygen to work with. Instead, director Joe Wright’s visually brilliant British drama works better as a meditation on guilt and, indeed, atonement than any breed of sweeping loving story. Taking cue from the bestselling Ian McEwan novel, the film adaptation doesn’t hold up under the scrutiny that the story on the written page does, posh Cecilia (Keira Knightley) and servant’s son Robbie’s (James McAvoy) relationship playing second fiddle to an infinitely deeper story about the former’s sister, not coming majorly to life whenever it is front and centre, the love interests, however entanged with each other they may be, always seeming at a distance to one another both before and after their worlds are shattered by an immature mistake that dictates the lives of them and another.

The year is 1935 and the setting is the English countryside. An aspiring writer who has recently completed her first play, 13-year-old Briony Tallis (Saoirse Ronan) spots older sister Cecilia fraternising with less highbrow servant’s son Robbie Turner. Later, she also happens nosily upon a letter intended for Cecilia that gets her imagination ticking over. One thing leads to another and out of immaturity, boredom and a limited frame of reference, Briony points out Robbie falsely as the man behins a recent sexual assault she has witnessed. As is, Briony’s decision - intentional or not - dramatically impacts the lives of herself, Cecilia and Robbie, tearing the lovers tragically apart and leaving Briony (who goes on to become an author) living with guilt for the rest of her life.

In many ways, “Atonement” has the makings of a grand-scale epic, either as a love story or old-fashioned dramatic tale. As told by director Joe Wright (following on from his 2005 “Pride & Prejudice”) and screenwriter Christopher Hampton (writing for the screen for the first time in four years), however, the film doesn’t adequately cover its intended scope. For all the supposed layers Wright and Hampton attempt to afford it in minimal scenes, the connection between Cecilia and Robbie isn’t nearly palpable enough for an audience member to truly feel it when their worlds are shattered through no actual fault of their own. Moreso, the film works at documenting the guilt felt by Briony, the person responsible, as opposed to focusing on the emotional, and physical, struggle faced by the doomed pairing.

Where “Atonement” inarguably succeeds is in the cinematography department. A collection of stunning, picturesque images masterfully conveyed by cinematographer Seamus McGarvey and orchestrated well by director Joe Wright. The gorgeous aesthetic makes viewers long to be overwhelmed by the film as much as the massive hype suggests it will. Alas, it doesn’t, the end result still feeling slightly half-hearted despite undeniable visual beauty. Further mention, too, should be given to the non-linear way in which the story is told. As flawed as Christopher Hampton’s uneven screenplay is, the way in which events unfold in a way that strays from sequential convention redeems much of it.

For “Atonement” to be a good film, then, the film is reliant on sturdy performances from its ensemble cast. Thankfully, they’re up to the cast, each one memorable in whatever amount of time they occupy the frames. James McAvoy plays Robbie Turner as the sort of genuine, sweethearted guy that viewers feel for, especially when things don’t go his way. Whether McAvoy’s turn is worthy of higher praise is debatable, but he certainly does a good job at the very least. Set against him, Keira Knightley is equally strong as soulmate Cecilia. It is Saoirse Ronan, however, who stands out most in a cast that also boasts the considerable thespian talents of Vanessa Redgrave, Juno Temple and Romola Garai, among others. Oscar-nominated for her efforts, Ronan is getting deserved credit, as she plays the naive, faux wisdomous young Briony perfectly.

Storytelling wheels creak and ice fails to melt in a cynic’s heart as the desperately cold “Atonement” only slightly ascends beyond mediocrity. Ultimately it is the wonderful images, complex plot trajectory and exemplary acting that makes forgivable the inadequacies ever-present in Wright’s film. Were more time dedicated in the 122-minute running time to the relationship between Cecilia and Robbie, then “Atonement” would have gone further towards justifying the high praise - and big awards - that it has won since release. Compelling though the life story of Briony is, Cecilia and Robbie needed more room for breath for their connection - one that allegedly would have sustained the test of time - to truly be felt. Because Joe Wright and Christopher Hampton neglect this storytelling responsibility, though, “Atonement” comes off a little half-cooked. Still, it is a good film, warts and all.

My Rating:

Director: Joe Wright

Cast: Keira Knightley, James McAvoy, Saoirse Ronan, Romola Garai, Vanessa Redgrave, Brenda Blethyn, Juno Temple, Patrick Kennedy, Benedict Cumberbatch, Michelle Duncan, Harriet Walter, Gina McKee, Daniel Mays, Felix von Simson, Charlie von Simson, Alfie Allen, Anthony Minghella

Your Rating

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