Although you'd think we'd know better by now, many people still behave in ways that are detrimental to them as well as those around them. For instance, many are quick to pass judgment on others, usually without knowing all of the facts, and thus cause damage, sometimes irreparable, by such hasty decision-making.
That often leads to feelings of guilt and the need to try to make amends. And that reaction is only exacerbated by the human flaw of easily being tormented by the old woulda-coulda-shoulda mentality of always looking backwards rather than forward in the proper, spilt milk, water under the bridge mindset.
All of that comes into play in "Atonement," director Joe Wright and screenwriter Christopher Hampton's handsome and good, but not great adaptation of Ian McEwan's best-selling, 2002 novel of the same name. In this sweeping, romantic epic, Keira Knightley and James McAvoy play star-crossed lovers (she a rich and pampered young woman, he their housekeeper's dashing son) whose romance is doomed in 1930s England by the selfish actions of a 13-year-old, precocious girl played by Saoirse Ronan.
Not being remotely familiar with McEwan's work, I had no idea what the film was about or how and where it would be headed. Accordingly, when it suddenly shifts from what looks like a standard, costume drama meets parlor game of wills to an early WWII drama, I was somewhat surprised.
There was also a tinge of disappointed since the early part seemed to be working quite well in setting up the hasty judgment part of the story. That's when young Briony sees and reacts to things that the filmmaker then shows from another perspective through some selective rewinding.
Don't get me wrong, as the war parts are more than adequately handled, and the recreation of the aftermath of the fall of Dunkirk is quite spectacular, especially in a single, multi-minute tracking shot through the ruined coastal city filled with chaos and confusion.
And I get that the three main characters -- including Romola Garai as the now 18-year-old, former troublemaker -- are all suffering from the still lingering aftereffects of her past misdeed that have snowballed in unexpected directions. Of course, that includes Briony -- now a war-based, hospital nurse in training -- feeling compelled to deliver the titular element for her previous wrong, a quest that still bedevils her many years later when she's played by Vanessa Redgrave.
The latter delivers the film's most powerful moment -- something I can't reveal without giving away everything -- that shows the filmmakers weren't quite yet done with playing around with perspective. It certainly gives the pic some added resonance and depth.
Throw in the consistently handsome production design, good performances from the attractive leads, and the transformation from intimate costume drama to epic romance, and I imagine the film will become something akin to this year's "The English Patient" in terms of critical and public response.
Yet, the fact that I never really cared about any of the characters or the central ones' shortchanged romance prevented me from being as engaged as I guess I should have been and/or floored by the poignant conclusion. While some may think I should expiate my less than glowing response to this offering (yes, meaning those who get teary over frustrated romantic longing and such), "Atonement" never touched me in the intended emotional way, and thus rates as just a 6 out of 10.
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