Atonement

Keira Knightley, James McAvoy, Saoirse Ronan, Romola Garai, Vanessa Redgrave, Brenda Blethyn

Dir. Joe Wright
Scr. Christopher Hampton (based on the novel by Ian McEwan)

Okay, I am slightly bewildered by all this hoopla about Atonement. Apparently, if it doesn’t win the Oscar for best picture next year it will be a travesty. Hmmm. And, apparently, it’s the best British film of the decade. Hmmmmmmmmm. I did like this film, but not as much as I was obviously supposed to. And I blame (a) Knightley, (b) some painful scenes of nothingness, and (c) the marketing machine that told me I was going to experience something truly special – a flawless film. Well, it wasn’t.

I know, I know. We can’t blame the filmmakers for over-hyping a film, can we? Well, no, I guess we can’t. But there was more that annoyed and disappointed me than just some truly over-the-top marketing. I haven’t read Atonement, though I am a fan of Ian McEwan and I especially enjoyed that adaptation of Enduring Love. I’m going to assume that this was a pretty faithful adaptation and that they didn’t butcher the book. Which makes me think that Atonement might be a brilliant book that doesn’t easily translate into a brilliant movie.

The story is very interesting and compelling and I won’t spoil it for those who have yet to see the film. There is many a twist and turn that you will want to be taken aback by – for me, it was sometimes the only thing keeping me awake. Atonement centres around the Tallis sisters – Cecilia and Briony – and a particular summer which turned their lives upside down. Hmmm. I don’t actually think I can even outline the story without giving a few things away. Let’s just say there’s jealously and betrayal and love and all that good stuff. Oh, and there’s a war thrown in for good measure. And a healthy dose of blood and guts along the way.

The acting, on the whole, is very good. McAvoy, for my money, has become a deserving leading man and has shown, again and again, his range and his ability. He is excellent here as Robbie, the poor boy made good. I can’t fault the supporting cast, including the ever-brilliant Blethyn. Who I can fault is Knightley. I am not a fan, it’s no secret. But I was assured by many reviewers that she shows her true acting ability here and finally has a role to grow into. Well, that’s rubbish. She pouts her way through this film just as she’s pouted her way through everything else. She is annoying and there is a worrying absence of chemistry between her and McAvoy, for which I blame her entirely. Contrast the horrible Knightley to the excellent performances by the three women to play her sister, Briony – Saoirse Ronan (aged about 11), Romola Garai (aged 18), and Vanessa Redgrave (old age). These three women are the reason that I did actually like this film and the reason why I will not slate it altogether. Ronan is by far the stand-out – she is so good that hairs stood up on the back of my neck when she did, well, that thing she does in the film that is so awful. A great actress in the making. Garai, unknown to me before this film, is also excellent as nurse-in-training Briony – she has a quality that ensures you can’t take your eyes off her. And Redgrave; well, not much needs to be said of this powerhouse of an actress. Her appearance on screen is short but perhaps the highlight of the film. Her emotion is truly wonderful.

The production value is good, I suppose. But then they had a lot of money to play with. There is war, which is portrayed with a complete lack of originality and didn’t really move me at all. There is a love story that lacks believability. There is a tragic ending, which was indeed incredibly sad, but I had somewhat ceased to care too much about the characters by that point in the film. By far the most interesting journey is that made by Briony, and this is portrayed very well indeed, in no small thanks to the triumvirate of actresses playing her. Overall, this is a diverting film, with enough of a story to hold your attention but not really enough heart to have you care about everyone’s fate as much as you should. And that, I must say, is the tragedy.

They are saying it’s the new English Patient. Well, that’s just plain absurd. And, don’t they know, that the English Patient gets worse and worse the more you see it? Ah well, I am resigned to the fact that Atonement will probably fulfil its own prophecy and sweep next year’s Oscars. But if Knightley wins best actress, repeating the Pathrow/Shakepeare in Love travesty, I shall be seriously displeased.

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Robbie: Why are you crying?
Cecilia: Don't you know?
Robbie: Yes, yes I know exactly.