Making ‘Atonement’ with a not-so-clichéd romance
By Kristin Nehls, Assistant Entertainment Editor
January 24, 2008 | 3:50 p.m.
Despite what previews have led viewers to believe, director Joe Wright’s “Atonement” is far from being “The Notebook 2.” In this Golden Globe-winning flick, “Atonement” is better described as a coming-of-age story with complex plot twists and romantic undertones.
Beginning in 1935, the first scenes of “Atonement” mimic the characters’ behaviors with their uptight and formulaic styles. Both the opera-esque music and high-strung acting style prove systematic and almost eerie. However, rigidity is expected, given that the story’s family is about a group of socialites who would surely frown upon the secret romance brewing between daughter Cecilia Tallis (Keira Knightley) and the servant boy Robbie Turner (James McAvoy).
However, it is not this secret romance that engulfs the plot of “Atonement." It is Cecilia’s little sister Briony Tallis (Saoirse Ronan) who transforms this story from being one of pure romance into one of perversion, sexual assault and eventual devastation.
This is accomplished through the artistic style that is apparent throughout “Atonement.” At the completion of each critical scene, Wright starts the scene over again, rewinding the plot and allowing the scene to be retold through a different perspective. The point of view switches between one of three different characters: Cecilia (Knightley), Robbie (McAvoy) and Briony (Ronan, Romola Garai and Vanessa Redgrave).
One of the movie's biggest weaknesses is what seems to be Wright’s constant deliberation as to which character should be the movie’s main character. Because of the risk Wright is taking with a consistent change of perspective throughout the movie, a fine line is created between intriguing and messy. The movie’s plotlines are disproportionate to the importance of each one, so much so that Briony’s character, arguably the most important in the movie, is construed as entirely irrelevant for a large portion of the movie. While this is more than likely intentional for the sake of mystique and intensity, her absence among otherwise less important scenes is borderline distracting.
Because “Atonement” coincides with World War II, the romantic hero inevitably departs for war, devastating Cecilia. Far from being cliché, however, he has only become a soldier given his ultimatum to either do so or remain in prison for a crime he did not commit. However, the war scenes were altogether disappointing, with forced acting and soldiers that fit the typical soldier stereotype, making these scenes unrealistic and altogether ineffective.
Despite these weaknesses, this movie is a living, breathing creation that, with its progression through time and raw emotions, is more alive than most of what Hollywood has been producing lately. Wright does an amazing job of keeping things understandable and simple, despite the amount of times that “four years later,” “three weeks earlier,” etc. are flashed on the screen.
Obviously a large-scale, multimillion dollar production, “Atonement” defies the expectations of its genre and incorporates indie-like intricacies into its style. With the repetition of harsh typewriting sounds combined with ripcords and record players to create a beat that is relevant in the most intense moments of the movie, there is a definite artistic element to “Atonement” that is unique in its delivery.
It is also impressive how small details, such as Briony’s knack and enjoyment for writing, become pivotal points in the progression of the plot. A dirty word typed on a typewriter, an idealistic image printed on a postcard, and a sensual bite out of a chocolate bar — all of these occurrences are seemingly small and irrelevant, but ultimately it is these extraneous details that together make “Atonement” a work of immense creativity that will not be easily outdone.
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Speakeasy Rating: A-
Running Time: 2 hours, 10 minutes
MPAA Rating: Rated R for disturbing war images, language and some sexuality
Genre: Drama, Romance, War