In 1935 at a British country estate, adolescent writer Briony Tallis (Saoirse Ronan) witnesses tension between her older sister Cecilia (Keira Knightley) and the housekeeper’s son Robbie (James McAvoy) that she doesn’t understand. Later, she walks in on them making love. That same night, the girls’ cousin is raped and Briony’s jealousy leads her to lie and accuse Robbie. This separates the lovers, and eventually sends Robbie to World War II in France. Briony works as a nurse during the war and finds a surprising way to make amends.

CRITIQUE

As the end of the calendar year nears, high-gloss literary adaptations are staples in cinemas perhaps more than any other time of the year. Happily, this results for the most part in films that are strong in many respects. Classy direction and performances embellish a romantic story in Atonement that attains the interest, though it also remains a little less engaging than it should.

Having not read Ian McEwan’s novel yet, I will venture to say that the emotional effect of reading the novel is more immediate than that of the film. The most important part of the story is the 1935 section, which unfolds over a single day. The film gets across the nobility of Robbie’s character in this sequence but the separation of Robbie and Cecilia isn’t the wrenching kick to the gut it is meant to be. The character of Cecilia is too standoffish and cold for that, though this might be Keira’s performance as well. Now, the stunning ending, which I won’t give away, almost has the impact intended, but again I suspect the book is stronger. A central flaw here is that Briony begins as a liar, so the audience isn’t really sympathetic, which makes it matter less to them when she seeks forgiveness.

In direction and all artistic aspects, though, the film is impressive. Joe Wright has an eye for editing and camera movement. The opening sequence where the camera follows Briony through the house after she finishes her first play at 13 years old really engages the eye. He also knows the value of a grand gesture, as witnessed by the unbelievable 5-minute unbroken shot of Dunkirk as Robbie arrives.

The music is amazing, filled by Dario Marianelli with the strong clicks of a typewriter. It is apt for a film that examines the theme of fiction and the writing of it, but this also creates staccato rhythms that add certain energy to the film. Jacqueline Durran’s costumes are completely gorgeous throughout and play a part in connecting the three actresses who play Briony. Production designer Sarah Greenwood and director of photography Seamus McGarvey deserve shout outs as well.

Stunningly beautiful in all visual aspects and almost in story as well, Atonement is lushly produced and well directed.

THE VIDEO

Atonement is presented in anamorphic widescreen. The transfer here recreates beautifully the scope the filmmakers intended including the luscious colors as well as the colder and dark images in the film’s second half. There aren’t any noticeable flaws with the picture.

THE AUDIO

Atonement is presented in English 5.1 Dolby Digital Surround. Dialogue and music are clearly reproduced across the front channels and at times via the surrounds as well. Also available are Spanish and French tracks, plus optional subtitles for all three languages.

THE EXTRAS

Audio Commentary: Director Wright provides a solo track for this disc, like he did for Pride and Prejudice. This is an interesting track, and I like how Wright seems eager for even the smallest contribution to be noticed. He begins by revealing the interesting idea for opening the film that he ultimately didn’t use-- puppets. Then he goes through the usual filming information and the filmmakers that influenced him (David Lean comes up a lot.) Wright funnily describes how the love scene was shot and how the shots of Briony as she tells her lie and then finally tells the truth mirror each other.

Deleted Scenes: Seven scenes are included here, with optional commentary by director Wright. Most involve Robbie’s time at war. One that is an alternate beginning to the Dunkirk sequence is the most polished of the group. We also get more of Ronan’s performance in the first scene. Wright’s commentary is mostly informative and he can be self-deprecating. This is a good extra overall.

Bringing the Past to Life: The Making of Atonement: The usual making-of doc gets indulgent treatment here, at about 25 minutes long. There are great interviews here from lots of cast members, director Wright, writer Hampton, and artisans like costume designer Durran. We see a bit of the sheer work that went into the film’s now-famous 5-minute stead cam shot of Dunkirk, and that McAvoy literally held himself differently as Robbie succumbs to injury.

From Novel to Screen: Adapting a Classic: More of some of the same interviews, this time focused on the aspect of adaptation. The usual comments about the “cinematic” quality of the book are here, but we also get an interview with author Ian McEwan. We learn that Wright came on board after reading a draft of Hampton‘s script, then had him start from scratch with a new draft.

FINAL THOUGHTS

Atonement is classy and beautiful, with strong performances and a story that engages the interest constantly if not the emotions. Wright is a director with obvious talent, so I am anxious to see what he tackles next. Those who love romantic period pieces, like I do, will find it best to buy this film. Add to that the fact that the extras provided on this disc are good will prompt others to purchase Atonement.