Atonement Review

Posted by Chad Webb on 12.07.2007

Knightley and McAvoy heat it up in another Joe Wright success.

Keira Knightley: Cecilia Tallis
James McAvoy: Robbie Turner
Ramola Garai: Briony – 18 Years Old
Saoirse Ronan: Briony – 13 Years Old
Vanessa Redgrave: Old Briony
Brenda Blethyn: Grace Turner
Alfie Allan: Danny Hardman
Nonso Anozie: Frank Mace
Juno Temple: Lola
Directed By: Joe Wright
Release Date: December 7, 2007
Running Time: 130 minutes







Rated R for disturbing war images, language and some sexuality.

Atonement is an example of a book translating wonderfully to the screen. Director Joe Wright has equaled the faithfulness and radiance of his previous adaptation, Pride and Prejudice, by evoking the beauty of the novel through the genius of flourishing young performers, gorgeous settings, and vivid images. It can be described by using the hackneyed line "the pages come to life", but I would say that this is energized and drenched in the qualities of Ian McEwan's story. Atonement is the ideal movie for couples, and a dream come true for purists.

It is the summer of 1935, and the 13 year old Briony Tallis (Ramola Garai, Saoirse Ronan) is a fledgling writer with a a vivid imagination. She has a little crush on Robbie Turner (James McAvoy), the son of the Housekeeper. Robbie is busy developing a relationship with her older sister, Cecilia (Keira Knightley), and eventually their flirting and passion are acted upon one random night. Unfortunately, Briony oversees the two in the heat of the moment, and she misconstrues the situation greatly because she is jealous. This leads to Robbie being accused of a crime he did not commit. Briony's lie follows these three people into World War II where Robbie is a soldier in Dunkirk, and the two women are nurses. The circumstances of that one day have changed their lives forever, and now Cecilia and Robbie struggle to keep their love alive.

Keira Knightley is the most recognizable name on the billing, but in terms of story importance, she comes in third for this trio. Knightley delivers an unyielding, emotional, and alluring turn as Cecilia, but this is not groundbreaking stuff from her. She is a regular face in period pieces at this point, and has shown that she is capable of handling more weight in such genre. Nonetheless, she is beautiful as usual, and she establishes an electrifying and instantaneous connection with any co-star who shares the screen.

If you had asked me two years ago where Mr. Tumnus from The Chronicles of Narnia would be today, the likely reply from most would be...who? James McAvoy is out of this world, and nails a tour de force portrayal of Robbie Turner. For those who thought he was overlooked in The Last King of Scotland, do not fret, because the golden statue buzzing is sure to start around him this season. The reason this surpasses all of his previous endeavors is based on the level of depth he channels through Turner. It is amazing how focused he is. Nothing could break that concentration, and it shows as a young man broken by an unfortunate situation, longing for the woman he loves.

Three actresses take on the vital role of Briony Tallis, and what causes the structure of this romance to stand firmly in place is that each female does not supersede or cover the others tracks. It should go without saying that they resemble one another in appearance, but that aids a great deal since it is one less distraction. Saoirse Ronan will not garner much attention in the realm of child actresses, but she succeeds in not being annoying, which is a huge compliment here since Briony's actions are frustrating to the audience. Ramola Garai assumes the responsibility of exposing the form of Briony that has lived with her secret and the consequences it produced. In a relatively quiet position as a nurse, Garai is subtle and comforting. I'll leave the last one for you to discover.

To properly express the intended message and idea, Joe Wright reveals certain scenes twice, one through Briony's eyes, and once from the regular perspective. Due to the fact that entire narrative rests on what she misunderstands. This is not an innovative approach, but it is momentous and shrewdly utilized here.

The unforgettable cinematic moment in Atonement occurs during an uniterrupted five and a half minute take in which the camera zigzags to and from the characters searching and striding across the beach. As it concludes, a breathtaking, but tragic sight of the evacuation is unveiled. It took one thousand extras and three hundred crew members to accomplish this. This, and numerous other gorgeous vistas and incredible shots transform this customary premise into a special experience. They are reiminscent of Terrence Mallick's striking efforts, yet not too related.

Atonement marks an intriguing time for Joe Wright. He is evidently advancing and progressing as a filmmaker. By undertaking a more tragic sort of tale, he proves his versatility and maturity. In addition, he is shaping and honing his own stroke and identity like a veteran director. Aside from the average plot, the only time Wright falters is the shift in gears he takes when delving into the war section. His depiction of war is not extraordinary, but that is not the issue. The noteworthy aspect is what transpires for one couple while the war is unraveling. Furthermore, Wright highlights the brisk and invigorating screenplay from Christopher Hampton rather than gun battles or challenging a Saving Private Ryan atmosphere. Dario Marianelli's score is also hauntingly moving, and swells during the correct instances, while Seamus McGarvey's cinematography is his best in years.

The epilogue does not just knock one off their feet, but floor them like a hurricane from out of nowhere with no warning. Without spoiling anything, I thought this ending was exceptional and effective because it leaves viewers enthusiastic and fulfilling regardless of how sad it might be. It is not depressing, but touching and poignant. This is the type of adaptation that is so remarkable that it will cause people to seek out the source material. That does not happen everyday, but when it does, the cast and crew must feel elated.