Another excellent turn from Joe Wright

Rating: 9/10 (8 September 2007)

Mr Joe Wright, if this directing lark doesn't work out for you, you CLEARLY have a sparkling career as a landscape photographer waiting for you. In a manner similar to his previous British literary adaptation, the infamous 'remake' of Pride and Prejudice, every shot was of such beauty, that for, as has previously been said of Raging Bull, you could take any frame of the film and it would a make a more than sizable photograph, and for my part I'd certainly put it up on my wall. Even the mind-blowingly long tracking shot of war torn Dunkirk beach was simultaneously filled with despair and yet a certain picturesque quality, perhaps intentionally contrasting it between the chocolate box imagery of the seaside and the stark contrast with the current situation. And as ever the sets in this film are so clearly painstakingly set up, the beach shot the most sizable notice of this, which even the harshest of critics could not fail to be impressed by. The first act was, again echoing P&P, almost like a film AND a ode of love to the great English countrysides and stately homes, panning over the trees and charmingly uneven hilltops, even adding a dash of glamour to what appeared to be overgrown weeds.
In newspaper reviews, a couple of critics accused Joe Wright of being style over substance. The style is undeniably there. But I think in order for the film to have stood up as well as it did, there must have been a hefty great deal of substance also. I think the main problem was that the book, I'd imagine, with its to and fro narrative, didn't QUITE translate onto film. Although each section was beautifully crafted in its own way, it did seem to jump to time periods with no prior warning, such that you'd have to later realise what was going on. A minor niggle I know, and it may not annoy anyone else. As previously stated though, each part was expertly navigated by Joe Wright and of course this was also in great part thanks to the actors involved. The three actresses playing Briony were stubborn, numbly guilt-stricken and resigned respectively (the relative newcomer playing 13-year-old Briony is a standout find). James McAvoy again displays why he is so sought after with a sterling performance as a least flawed character in a film filled with imperfect people. Keira Knightley managed to avoid pouting her way through the movie and is again brilliant in her flawed English rose role, making the transition from aloof elitist to lovelorn with perhaps an over-swiftness, but that again may be what the script asked of her. The support cast provided a more than adequate frame, though not given much limelight to work with as the three main protagonists do such a brilliant job. As corny a prospect as it sounds, I think the sets and shooting locations should be credited as an invaluable cast member also, adding an additional emotional facet to every scene appropriately, taking your breath away without taking your eye away from the acting in the foreground.
In short, mature and sensitive directing form Joe Wright (surely a name to look out for); Robbie, Cecilia and Briony x 3 all ever so much more than adequately portrayed; an excellent story from award and kudos-garnering Ian McEwan smartly adapted for screen; mouthwatering cinematography and locations tied up with another star turn from Dario Marianelli, returning for his second Joe Wright collaboration with an flowing and swelling score punctuated, appropriately by typewriter sound effects. All the emotion and beauty of Titanic set on
land, sans boat and Celine Dion. A must-see.