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Starry, sexy and unmistakably British, Atonement is the kind of film that comes along all too rarely. The swell of excitement in the press that followed the film’s premiere at the Venice Film Festival last week is not misplaced – the director Joe Wright’s follow-up to Pride and Prejudiceoozes quality. As the society swan Cecilia Tallis, Keira Knightley has never looked more iconic than she does in the chic, slouchy fashions of the mid 1930s; the clipped, brittle accent of the period suits her chalky Englishness. Her lover, the housekeeper’s son Robbie, is played by James McAvoy, quietly affecting as the young man whose bright future is crushed by one massive, malicious lie.
Sensitively adapted from Ian McEwan’s novel, the film is true to the book’s sweeping scope and to the voice of its terminally unreliable narrator. Wright twice repeats key scenes to skew our perception of them – each time we first see them through the blinkered eyes of 13-year-old Briony Tallis, then we get a more adult perspective. It’s a simple device, but utterly effective.
Briony as a child is played by the brilliant newcomer Saoirse Ronan. She pounds out flights of fantasy on her manual typewriter. The score, by Dario Marinelli, takes the clattering beats of the typewriter keys and runs with them – a musical motif for Briony’s overheated imagination. But it’s not her imagination that destroys the hope of happiness for her sister, but a wholly conscious act of deceit. This lie is the crux of the story; it’s also responsible for splitting that story into three strands.
But while the second half of the film loses some of the tension of having Cecilia, Robbie and Briony in the same frame, it also contains some of the film’s most stunningly cinematic moments. A four-minute tracking shot that stumbles numbly around the bloody beach at Dunkirk is audacious and profoundly moving. The role of Briony is taken over by Romola Garai, now a nurse paying penance for the wrong she claims she is only beginning to understand. But it’s left to Vanessa Redgrave, in a coda showing Briony at the end of her career as a writer and her life, to convey the anguish of a lifetime of guilt. Awards season beckons.
15, 122mins
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I saw this film in France and have never been moved so much by a film before. The clipped Brisitish accents which so many ignorent people objected to were typical of the Upper class Brits in the 1930's. As was the belief that Robbie was responsible for the crime cheifly and perhaps only because he came from the lower classes. The scenes at Dunkirk struck me as probably near the reality of that time. All the actors were equally splendid and the ending was truly credible as someone else said the Ian Mc Ewan dosen't do easy. Its typical of the British to make truly thoughtful and wonderful films. Well done everybody.
Bettina Mills, Rivieres, France
I loved it. Having read the book I was hesitant about seeing the film. However, it's a very faithful adaptation. The acting is uniformly wonderful but the most moving performance for me was Vanessa Redgrave's.
Con O'Brien, Blenheim, New Zealand
Isn't the point about the Dunkirk sequence that it's a kind of lurid fever dream, hence its 'surreal', Felliniesque qualities? Remember Robbie is already ill by this point. As for the clipped accents, you can hate them all you like, but that's how upper-middle-class people spoke in the 1930s. I thought Keira Knightley, in particular, did a great job with her accent â she made it absolutely her own. Films as good as this are once-in-a-decade occurrences. All this carping about it being 'pretentious' and 'boring' is soul-sappingly depressing.
John O'Connell, London,
I've just returned home from seeing this film and have been stunned by the glowing reviews it's received on the Internet, both from critics and viewers! A friend had previously told me it had left her completely unmoved and she hated the clipped, pre-war Brit film accents adopted by KK and JM in their love scenes. Even if she hadn't said that, I would have wondered about those accents myself; check out the cafe scene just before Robbie goes off to war to hear them at their worst. Did the director tell them to talk in funny voices as an homage to "Brief Encounter" or were they just hamming it up? Yes, the film made me cry buckets - but only because I'd read the book and knew about Robbie and Cecilia's early deaths - but having one's emotions wrung shouldn't be the test of what makes a great film and in my opinion "Atonement" fails the ultimate test of "would I want to see this film again and again". The answer to which is "never, if I can help it".
L.J. Brown, London ,
just returned from seeing this so called oscar contender but i have to say we all thought it was one of the worst hyped films ever !boring ,boring ,boring, we nearly lost the will to live .would not recommend this tripe to anyone!
paul lewis, darlington, durham
I am surprised that you found the Dunkirk sequence so moving. I though it terribly self conscious and unengaging. It shows the Dunkirk beaches in a somwhat surreal way - complete with working Ferris wheel, hymn singing, French film show etc. which jarred with the essentially realistic portrayal of other episodes and which did not seem to serve any useful purpose.
carlos iradier, London,
I saw this film at a prescreening & days later images of it are still with me. It is stunningly cinematographic; details of the 1930's era beautifully portrayed by both sets and actors. Cecillia's face is a canvas on which every emotion is visible. Having not read the book, I adhere to other's remarks about the intepretation Joe Wright has put on the screen. During its playing, the tension was clearly felt until the scene where Robbie is stranded in the French countryside with 2 army compatriots desparately searching for their unit when one of them rattles on in an outburst of cockney parody which brought spontaneous loud roars of laughter from us all, momentarily breaking the tension. Mr Wright, a courageous and talented director,has once again drawn out a fabulous performance from Keira Knightley & a very credible one from James McAvoy. Indeed, all the actors are excellent in every part they play. Its not an easy film, McEwan doesn't do easy, buts its a great one & its British!
Mobson, London, England