Atonement (2007)

• Year: 2007
• Released: 11 Jan 2008
• Country: United Kingdom, France, United States
• Adwords: Won 1 Oscar. 51 wins & 149 nominations total
• IMDb: https://www.imdb.com/title/tt0783233/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/atonement
• Metacritics: https://www.metacritic.com/movie/atonement
• Available in: 720p, 1080p,
• Language: English, French
• MPA Rating: R
• Genre: Drama, Mystery, Romance
• Runtime: 123 min
• Writer: Ian McEwan, Christopher Hampton
• Director: Joe Wright
• Cast: Keira Knightley, James McAvoy, Brenda Blethyn
• Keywords: based on novel or book, world war ii, sibling relationship, loss of loved one, summer,

	7.8/10
	85/100
	83% – Critics
	80% – Audience

Atonement Storyline

In 1939, Robbie Turner (James McAvoy) is a Private in the British Army, he and his battalion who are heading to France to fight in the war. A stint in the army is not where his life was headed, which took a radical turn four years earlier at the Tallis estate where he grew up as his mother worked as the Tallis’ live-in housekeeper. As such, he grew up with the three Tallis children: son Leon (Patrick Kennedy), and daughters Cecilia (Keira Knightley) and Briony (Saoirse Ronan). Robbie and Cecilia were just getting to the stage of their lives of being able to confess their true love for each other. But then thirteen-year-old aspiring writer Briony also had a crush on the older Robbie. Based on two incidents she saw between Cecilia and Robbie (one only from afar), on reading a private letter Robbie wrote to Cecilia, and on her own feelings for Robbie, Briony told some truths and half-truths about Robbie which resulted in this turn in his life. Robbie is able to reconnect with Cecilia before he is shipped off to France, and lives only to be able to head back to London to be with Cecilia and make up for the missing four years they could not spend together due to Briony’s actions. A year later, Briony (Romola Garai), now eighteen, also arrives in London to start working as a nurse to support the war effort. By this time, she is aware of the damage her thirteen-year-old self caused, and wants to atone for that error to Cecilia, from whom she has been estranged, and Robbie, who she has not seen since. She will make this atonement even if neither Robbie or Cecilia will ever speak to her, or if it takes the rest of her life.

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Atonement Movie Reviews

Better Late Than Never – Not Really!

Comprising recognisable, realistic and outstandingly beautiful performances, set within an uncomfortably believable and heartbreakingly tragic story, it will leave a mark, a scar, a wound on your soul; especially if you have an ounce of humanity, understanding and empathy for the circumstances within which it is told.

The Indiscretions of a Child

We are such a fragile race, so affected by the shifts of a societal breeze. A child misinterprets what she sees and brings about the destruction of people she actually loves. So caught up in her dramatic wants and angry, she lies, and that lie haunts her for her remaining days. This is a movie version of a wonderful book, the best I read that year. It captures the pain and the need to make true restitution. The truth of the matter is that sometimes it just doesn’t work that way. The characters come to realize that. It’s a slice of life in wartime and all the chickens come home to roost. Probably the most gut wrenching thing is that the character that causes the most damage has great success in life, but carries around her guilt to her dying day. She is never allowed to truly enjoy things. This is a really fine movie and, except for some breaks in editing, does a nice job of presenting the issues in the novel.

One Third of “Atonement” Is Brilliant

The first third of “Atonement” is superb. We are introduced to a group of affluent English aristocrats whiling away their summer hours at a massive estate. One of them, Cecilia (Keira Knightley), is nursing a raging case of sexual attraction to her childhood friend and now family gardener, Robbie Turner (James McAvoy), while another, Cecilia’s young sister Briony (Saoirse Ronan), spends her day writing a play which she plans to perform for a family gathering later that evening. Everyone is bored and listless in the summer heat. Briony, prey to an overactive imagination, keeps witnessing a series of increasingly serious moments of intimacy between Cecilia and Robbie that she isn’t old enough to fully understand, and finally a false accusation by her is responsible for sending Robbie away from the estate in handcuffs. Everything about this part of the film is brilliant. The director Joe Wright ratchets the sexual tension to an almost unbearable pitch, and I was on the edge of my seat waiting to see what would happen.

But then the story and movie switched gears, and it lost some of that narrative momentum it had been so wonderfully building. The second and third acts of the film, while accomplished, do not deliver on the promise set up in the film’s first part, and the movie never really succeeded in sucking me back in. When we next see Robbie, he’s wandering through the desolate battlefields of WWII France, pining for Cecilia and nursing a chest wound. Wright shows off mightily in this part of the film; there’s an astounding ten-minute tracking shot that depicts the allied forces on the beach of Dunkirk that will have cineastes slobbering. But like Robbie’s mind, this part of the film starts to wander aimlessly, and even while I was admiring the sheer planning that went into this amazing shot, I couldn’t help but wish that Wright would just get on with it already.

Finally, the film circles back to Briony, four years older and working as a nurse tending to the wounded. She’s suffering a tremendous amount of guilt for the wrongs she’s only now beginning to understand and wants to reach out to Cecilia (from whom she’s now estranged) and Robbie to offer her apologies. I’ve not read the Iam McEwan novel on which this film is based, but even I could tell that this is where the screenwriter, Christopher Hampton, had the most trouble adapting the novel to the screen. Much of what “Atonement” is about becomes clear in this last act, as Briony ages into Vanessa Redgrave, a successful novelist who has finally written a novel that works as an outlet for her devastating feelings of guilt. We begin to realize here that “Atonement” isn’t as much about the love affair between Cecilia and Robbie as it is about the act of writing and the power of words. Briony learns as a little girl how difficult words are to take back once they’ve been said; as an adult, she learns the ability of words to help us deal with regret. One particular scene that takes place between Cecilia, Robbie and Briony is a fiction inserted into their story by Briony the novelist; it’s the story as she wishes it had been rather than as it actually was. Briony the woman can’t change the past, but Briony the novelist can.

This is a wonderful idea, but unfortunately the screenplay doesn’t quite know how to communicate this in cinematic terms, so it’s told directly to the audience by Redgrave in a monologue at the film’s conclusion. Redgrave is a luminous actress, but her soliloquy feels awkwardly inserted into the film. As for the other actors, they all do fine work. The young actress Saoirse Ronan is especially good, and James McAvoy proves further that he’s becoming one of the finest young actors working today. But the screenplay sort of abandons him and Knightley after its first half hour or so to a warmed over version of “The English Patient,” and the strong impact they both make early on dissipates gradually.

I admired “Atonement” for how it looked and the ideas it had to express, but I think it’s an uneven film that doesn’t entirely work.

Grade: B+