A stunning cinematic adaptation and achievement-Spoilers?

Rating: 10/10 (6 January 2008)

Atonement was adapted from Ian McEwan's book, by screenwriter Christopher Hampton. Director Joe Wright's previous work includes Pride and Prejudice. In an article in Creative Screen writing magazine, it is explained why it is so evident that the film has been well-received: it was decided to stay as close to the original story as possible.
We've all heard the phrase "The book was better," uttered by so many people, that it is pretty well expected to hear that in connection with film adaptation. However, it is rare that anyone dares to say that a film is actually better than the book version of the story.
With Keira Knightley and James McAvoy in the leads, including a near-surprise appearance by Vanessa Redgrave, it is difficult to find any fault with the cast. In particular, despite her physical frailty, Ms. Knightley remains an emotional force to reckon with.
The opening scenes of Atonement, are more than effective at setting the stage for controversy, even surprisingly so. It is doubtful that most of the audience members, unless they had read the book first, were prepared for the gravity of the in-your-face brashness of the first act.
Taking place in 1935, as the world is on the brink of war, the story begins with families who have managed to still enjoy the sort of serenity reserved by the wealthy, in the isolated remoteness of the English countryside. But all is not as it seems, as is usually the case. Every family has its own drama, and the Tallises are no different. As 13-year old Briony (Saoirse Ronan, later played by Romola Garai), a budding writer who has already penned a play, bears witness to older sister, Cecilia (Kiera Knightley)'s coming of age, she displays the inevitable combination of envy, mixed with a potent anxiety, over Cecilia's hot, quick and heady entanglement with servant, Robbie (James McAvoy).
While the film is a period piece, it is important that this doesn't dissuade anyone who is not usually partial to such types of films: it is simply unfair to relegate this movie to the unfortunate and derogatory "chick flick" status. It is truly so much more than that, romance aside. McEwan is most certainly, no Emily Bronte or Jane Austen. This film, marketed as a romance, is actually more about the importance of truth, and how the lack thereof can destroy lives, most importantly, the life of the liar, who must live the resultant life sentence of sadness and pity.
The film, just as the book does, possesses sharply distributed dialog and character interaction, which strongly emphasizes the gravity of the story. The story's urgency is paralleled and very much affected by the wartime depictions of Britain and Northern France.
The method that Wright embraces to enhance the cinematic nature of the story, includes shows events twice, from both Briony's eyes and a more neutral, honest perspective, which is effective at explaining how a young girl's impressions can mistakenly convince her to actually believe against what is really occurring.
While Keira Knightley does issue a fantastic performance, the star billing she receives does not match the importance of Briony, played by three actresses: Saorise Ronan as a 13-year old, Romola Garai as an 18-year old, and the amazing Vanessa Redgrave as an older woman.
Thematically, Atonement is tragic, whether its story is told in book or cinematic form. The film, augmented by its dramatic music score, by necessity, is far faster paced than the book. As Woody Allen uses the city of New York as a character in his stories, this film used a typewriter, which, as an instrument, manages to successfully remind one that there is a very serious story being told.
All in all, Atonement is as finely crafted and visually stunning as a film can get, and its pace is every bit as good as any thriller, including its emotional, gut-wrenching surprise ending.
© 2008 Susan S. Davis