Atonement (2007)

Directed By: Joe Wright
Cast: Keira Knightley, James McAvoy, Vanessa Redgrave, Brenda Blethyn, Saoirse Ronan, Romola Garai,

Fresh from his directorial debut, the original and refreshingly entertaining Pride and Prejudice, Joe Wright, delivers that classic of British cinema, a period drama, and full of great locations, great costumes and great performances. The stands outs are obvious; Keira Knightley has never looked more beautiful and belongs in the 1930’s. Her waiflike figure perfectly suited to the costumes of the time. James McAvoy keeps moving in the right direction and infuses his scenes with great authority and emotion.

The film, an adaptation of Ian McEwan’s acclaimed novel the film centres on the lives of sisters Briony and Cecilia. Opening in 1935 Briony is a young 13 year with dreams of being a writer. Her sister Cecilia (Knightley) and Robbie Turner, the educated son of the housekeeper, have an underlying lust for each other which during a hot summer’s day and night explodes in a few tantalising moments of passion. Briony is witness to these moments and given her vivid imagination it’s not surprising when she begins to spin a story only a writer could when she witnesses an attempted rape. Accusing Robbie he is arrested and the whole story is set up on its inevitable tragic course.

The structure is perhaps the most intriguing and original element in this traditional style period drama. Joe Wright and screenwriter Christopher Hampton set about exploring the idea of point of view and how different people see different things. A fantastic example of this occurs early when Briony oversees an encounter between Robbie and Cecilia which looks on first impressions to be much more sinister than it is later revealed to be.
But this is the genius of the film. Wright places the audience is a strongly voyeuristic position of observing the voyeuristic Briony and as such questions audience perception, point of view and testimony. That the story is ultimately a fictionalised pleads for atonement by an aging Briony (Vanessa Redgrave) casts everything before into a new poignant and emotional high. It’s this revelation, so fresh, so unique and so beguiling that leaves the film in the memory long after the final credits have rolled.

This film is the most tragic of love stories in that it is essentially nothing but a story. A love story given to those it was stolen from in an attempt to appease the conscience. It’s this uniqueness which separates Atonement from traditional period films. That McAvoy and Knightley share little to no real screen time is beautifully handled and enhances those precious few moments they do share together. Its credit to Knightley and McAvoy that there passion and love in entirely believable despite sharing such little time together. One short scene as Robbie, now a soldier to get out of prison service, and Cecilia, a wartime nurse, meet for a quick lunch and share the slightest of touches. The passion is uncontrollable, both for the characters and the audience. The suppressed love never being allowed to break free.

Then there’s the war. Depicting only the early days of the conflict, Robbie and a few men are trying to get to Dunkirk in time for the evacuation and Wright’s long tracking shot on the beaches of Dunkirk is perhaps the greatest shot of the year and as mind blowing a beach scene as Spielberg’s Saving Private Ryan opening. The horrors of war are also apparent. Even if this film is not about war, but one where its characters are caught up in it. Briony, now a young adult working as a nurse (Portrayed at this stage of her life by Romola Garai) sees first hand the horror she has condemned Robbie to when a soldier’s head wound spurts blood as she redressed his wound. It’s a bleak reminder of what she, as a young innocent girl has done. Something she attempts valiantly but in vain to repair.

Atonement is one of those films which has such beautifully constructed imagery and such engrossingly enjoyable performances that so many scenes stand out and have significance in ways you never contemplated until the final moments that it will play on your mind, and heart strings like no other film released this year.

Joe Wright proves the period drama is alive and well, no mean feat for a second time director. Knightley and McAvoy exude brilliance as the tragic lovers destined to be apart forever. A genuine contemporary classic in the tradition of British cinema.