ATONEMENT
ATONEMENT |
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Falsley accused by the imaginative daughter of a wealthy family, young Robbie is sent to jail. He's in love with the girl's sister, but Wolrd War 2 further dampens any chance of finding happiness. | score 4 |
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| Cast Kiera Knightly, James McAvoy, Romola Garai, Vanessa Redgrave, Saoirse Ronan Director Joe Wright Screenwriter Christopher Hampton Country UK / France Rating / Running Time MA / 130 minutes Australian Release December 2007 Official Site (c) moviereview
2006-2007
ABN 72 775 390 361 |
In
that eternal English summer between World Wars 1 and 2, young Briony
hopes to be a writer. A daughter of aristocracy, she witnesses events
that place her sister Ceciilia (Kiera Knightley) in a compromising
position with the servant’s son Robbie (James McAvoy).
Imagination gets the better of her and one dark and stormy night, she
accuses Robbie of a crime he did not commit. So far, so romance novel:
Christopher Hampton (The Quiet American) adapted Ian McKewan’s book for director Joe Wright (Pride & Prejudice). They energise the piece significantly, taking it into Brideshead Revisited and The English Patient territory with the darker imaginings of Jean-Pierre Jeunet. A tantalising prospect. Some years pass and war has broken out. Older, hopefully wiser, certainly more compassionate, Briony (Romola Garai) is working as a military nurse when she’s not writing. Robbie has been released from prison to serve his country. Wandering the surreal landscape of Dunkirk – part battlefield, part carnival - poor health suggests he may never see Cecilia again. She, also a nurse, has removed herself from family life. Then Briony appears on her doorstep. Wright brought such passion to Pride & Prejudice (2005) that it sent Knightley to the Oscars for her trouble. It’s not inconceivable he’ll pay the Academy another visit this year. He keeps the film close to its source while enveloping it in first-rate performances and the exquisite production value of Merchant-Ivory. Dario Marianelli's unique percussive score is another example of Wright's desire to surprise. He goes further, lending his film an acrid aftertaste, a tangible sense of pain and a heartbreaking coda. Atonement’s one-two comes in a late revelation and a significant jump to the future. The wrench is distressing and satisfying, pleasingly melancholic. It is an inspired development that adds significant depth and originality to an already dazzling film. // COLIN FRASER |