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Read The Times reviews of Atonement
Brilliant? Boring? Pretentious? Atonement is the 'best film of the year', the 'best British film in ages', if you believe the press. But is it? Sunday Times Culture wants to know what you really think about Atonement. Don't be shy: post your comments at the foot of this review.
Never trust film critics who go to festivals: they are not normal people. They sit in dark rooms for long periods, watching film after film. The canaries in the coal mine of contemporary cinema, they emerge from the darkness singing the praises of the latest festival sensation. How would a film-festival virgin such as me know that? Because I’ve just seen Atonement, the big hit among the critics at the Venice film festival. Reading their reports, you would think that here was a great British film, one that belonged in the canon somewhere between Lawrence of Arabia and The English Patient. Ha! Don’t be fooled.
It’s one of those films that have impeccable literary credentials – based on Ian McEwan’s novel; screenplay by the theatre god Christopher Hampton – and it is directed by Joe Wright, who gave us the acclaimed recent version of Pride and Prejudice. Atonement oozes good taste, cultural refinement and what people call classiness. In fact, this is a snobbish, middlebrow drama. It’s the cinematic equivalent of Classic FM, yet it likes to think it’s Radio 3.
It’s often said that we are a nation obsessed with class. Actually, most people care very little about class in these days of celebrity-infatuation. But those who do will love Atonement. Their hearts will beat faster and their mouths will water when they see the beautiful country home of the Tallis family. Wright shoots, quite brilliantly, the lush, postimpressionist gardens, the preRaphaelite streams, the airy, cool sitting rooms, like a photo shoot for The World of Interiors. He also captures the malaise beneath the seductive surfaces of a way of life that is about to disappear.
It is 1935, the hottest day of the year. You can hear the sound of birdsong, the bat-squeak of repressed sexuality beneath the veneer of polite conversation. We first hear the manic clacking of 13-year-old Briony’s typewriter as she finishes her play. Played by Saoirse Ronan, she is a pale creature, with blue eyes that suggest one of the Children of the Damned. Mother (Harriet Walter) is up in her room having a migraine attack, while Briony’s sister Cecilia (Keira Knightley) sits puffing away on cigarettes, as pale and cool as porcelain, waiting for the weekend guests to arrive.
Later that day, from her bedroom window, Briony watches an incident between Cecilia and Robbie (James McAvoy), who is the son of one of the staff, but has been brought up as one of the family. From Briony’s viewpoint, it looks as though he is sexually humiliating Cecilia. In the first of many scene replays, we are shown the whole episode from their point of view, and it is the innocent encounter of people in love, but afraid to show it.
That evening, Briony catches her sister and Robbie having sex in the library. Later, when one of the guests is sexually assaulted, Briony has Robbie framed. He ends up in prison; she ends up spending the rest of her life trying to atone for ruining his life and the couple’s love. Once you strip away the beautiful house, the posh people and the familiar theme of doomed love across the classes, what’s left but a rather small tale about one moment that has lifelong consequences?
Irritatingly, Atonement gives us the worst of two worlds stylistically: it exploits the taste and nostalgia for 1930s1940s Hollywood melodrama, yet it has an annoying postmodern knowingness to it. At its heart is a concern with the unreliability of narrative, be it that of a 13-year-old girl one hot summer’s day or that of British history. Thus, when Robbie, who chooses the army instead of prison, winds up at Dunkirk, waiting for evacuation, we see that episode in a different light. Instead of a heroic exodus, we get a nightmarish vision of horses being shot and men going crazy.
Exploring the theme of the unreliability of the narrator – postJohn Fowles, AS Byatt, Martin Amis et al – seems as dated and redundant as the country-house drama. But without the jumps in time and narrative tricks, the film would lack any kind of momentum or dramatic twists. And it loses its dramatic tension when, in the second half, the action moves to the bigger canvas of the war in France. What holds our attention so effectively is Briony as a child – her presence dominates the screen. The story involving the older Briony (Romola Garai) doesn’t have the same impact. It’s as if her character has been lost in contrition.
As a love story, Atonement also doesn’t work, for one obvious reason: it wants to be both a moving love story and a clever postmodern view of a love story, but the authenticity is smothered by stylistic artifice. Cecilia and Robbie aren’t lovers; they are lovers from a 1930s film. Their passion is killed because they’re covered in this big condom of quotation marks.
The best thing here is the confident and gripping performance by Ronan. Knightley is an intrinsic part of the pretty scenery, and does cold, pouty bitch perfectly. There’s a moment in a cafe when she pleads with Robbie – “Come back to me” – that shows she can do real passion. McAvoy has the right sad eyes for Robbie, but he never seems to hold the screen on his own.
15, 123 mins
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I agree with the review. Beautiful, beautiful film to look at; I only wish I could have watched it on silent with the novel for subtitles.
The minor characters seemed rather two dimensional (although Benedict Cumberbatch was engagingly creepy - maybe that's just his look, though! - and Juno Whatsit who played ginger cousin Lola was very good. Romola Garai was my favourite Briony, all bug-eyed and over-keen). Mostly, though, I found both Robbie (McAvoy) and Cecilia (Knightley) unsympathetic and wooden. I also had this problem with the novel, but I think the film could have helped by expanding their scenes in order to compensate for the loss of Ian McEwan's explanatory prose. And I can't for the life of me understand the fuss about Vanessa Redgrave at the end. That scene killed the film for me, and I don't see what she did with the character that was so 'accomplished'.
Amy Allen, LDN,
'I wrote you...'
Atonement is a lush piece of filmmaking which reminds me of the David Lean school updated--though not quite so overwrought. Anyone who still has a taste for gutsy cinematography and doesn't mind a filmmaker taking a few chances to create extraordinary effects will appreciate Wright's canvasses. Also, quibbles made by American critics concerning the typewriter sound effects and other contrapuntal devices miss the point. The young Briony has arbitrarily written the fate of Robbie (played by a powerful James McAvoy), and the typewriter underscores this idea. Then again, I am open to the idea of nostalgia and postmodernism combined; is there some unwritten rule somewhere stating that they can't interact? Postmodernism by definition would overturn this judgement. Finally, while they are undeveloped and overdeveloped scenes in Atonement; I still think it's beautiful filmmaking. Is there something wrong with beauty nowadays? Loved it.
Elan Durham, Santa Monica, CA/USA
So many viewers seem to have missed the point ... And certainly those in the lobby of the cinema where I saw ATONEMENT mumbled unhappily. If the film has faults through it (Who would believe that? Why is that there? It didn't happen that way, did it?) they are there to be examined at the end when we realise the "story" and that includes the characters, places, dialogue, outcome is ... to a great extent ... a convenience, a lie at worst, of the young girl (Briony) grown up. Was she even REALLY atoning? And whether 1935 or 2007, aren't we all more than a little guilty of saying things that make us look better ... ? So ... you TAKE THE STORY HOME WITH YOU and work it out. The film doesn't go back in the can ... for it to work you simply MUST see it again in your mind. Do a little work. Shame on those who just wanted pretty still pictures.
Ross Eldridge, Amble, Northumberland
I have to say I didn't want to watch this film at first, simply because of the fact that the media over-hyped it. But on starting university I have to do an essay about whether the adaptation from book to screen was a good one, which obviously involved me reading the book (which was most excellent) and watching the film. The first 10 minutes or so of the film left me a little disappointed because there wasn't much going on and it didn't seem to grasp the real essence of the book, but after that I couldn't take my eyes away. The film just suddenly grabbed hold of me! What a film for both James McAvoy! Where did that talent suddenly come from? And we all know that Kiera Knightly can play grumpy english bitch very well, but, even she surpassed herself in this film!!!!
Carrie, Manchester,
i loved the film, had there not been any media hype before the film was released however, i would have found it more amazing. The hype was HUGE, i thus prepared myself for a film that would shatter me emotionally, stun and wow me. I got none of this, instead i got a rather good film with good acting, if a little contrived... i agree with the reviewer about the older Briony's lack of storyline etc... also considering Keira had already done an Old-England style film with Pride and Prejudice somehow I was less than impressed with this performance overall. That being said she was a great actor and the film was very good, its just a shame that it was overhyped so much beforehand
vicki, london,
Were we the only ones who laughed at the point where the lead couple were in flagrante in the library and Keira becomes aware of the girl outside and says that she can hear someone coming? No, just us then!
Derek & Anne, Cornwall, UK
Atonement is an excellent book which to my pleasant surprise made a seemingly effortless jump to the big screen and blew this viewer away. Both Keira Knightleyand James MacAvoy were/are awesome. I cannot understand how your reviewer and others on the comments page disliked this film. I found it beautifully shot, excellently acted and utterly engrossing from start to finish. I didn't notice any pre-release overhype here in Ireland. However, I think it is a film of which the British film industry should be justifiably proud, just as we Irsh should be equally proud of Lenny Abrahanson's remarkbale film Garage which I saw at the weekend. Definitely a victory for substance over packaging in this understated gem.
Peter Gunning, Midleton , Ireland
I love this film. The typewriter/cello soundtrack is amazing, as is the wonderful cinematography. The direction and the way the story was told were really inventive and clever - I loved the beautiful Dunkirk scene, it was one of the best cinematic moments I have ever witnessed. The acting was also very good, however the music took centre stage for me, being a cello player. I
love this film because it is the first and only film that has made me cry. Simple.
Aimee - aged 15, Edinburgh,
Hugely disappointed with the film. The acting was distinctly wooden and second rate. Neither my husband nor I felt any emotional connection with the characters. The only thing that held our attention was the beautiful photography.
Janice, Aberdeen, UK
Hugely disappointed with the film. The acting was distinctly wooden and second rate. Neither my husband or I felt any emotional connection with the characters. The only thing that held our attention was the beautiful photography.
Janice, Aberdeen, UK
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