Atonement

Before we went my partner told me of her dilemma, whether to read the bloody book first or not because generally life's too short to read Ian McEwan. Personally after hearing what she has said about the ones she has read and after having seen Enduring Love, I have no plans to read any of them but will happily see the films.

In this case, DO NOT under any circumstances read the book first because it will totally ruin the film for you. You really do not want to know how it finishes in advance.

I had my reservations about going because of the casting of Keira Knightly and James McAvoy. Surely so much wet in one place will cause us all to drown under the sentimentality of the generic costume-drama formula. I was wrong; I should have had more faith in Mr McEwan and the director Joe Wright.

The McEvanisms are great, scenes are replayed from different perspectives, there's a touch of running the film backwards, and then huge time jumps forwards, even perhaps a touch of sideways. You'll either love it or hate it; strangely I kept up and loved it.

The first hour is brilliant. 13-year-old Briony Tallis misunderstands what she sees from her bedroom window when she sees her sister Cecilia (Knightly) dive into a fountain, a very deep one, as their housekeeper's son Robbie (McAvoy) watches.



Then when Robbie writes a letter to Cecilia, he gives it Briony to give to her sister but he gives her the wrong draft. Briony reads the rather 'direct' letter before delivering it.

Here we get a tip on how to pick up women. There's a key word in this letter and the film dramatically repeats it several times, letter by letter, just in case you missed it or in case anyone has covertly snuck their 14-year-old Daughter in to see the film. It's wonderfully shocking because the film had been so prim and proper up to that point.

However it seems that with our Keira the direct approach works best and Robbie must have been glad he didn't send her the intended traditional softly softly romantic letter after all. I was just disappointed that when she led him into the library and leant back against the desk she didn't just lie back and say 'go on then Robbie'. Actions speak louder than words and all that but sadly no. Mind you before you could say 'kiss my ...' he had her climbing the bookcase in ecstasy. I am taking notes. Worryingly Daughter probably was too. Unfortunately Briony witnesses this rather strange love scene, which confirms her belief that her sister is the victim of a mad sexual predator.



Keira reckons she may become famous for the earlier fountain scene where you can see her bush through her wet clothes. Strangely this is noticeable when viewed from the sister's window but not when the scene is repeated close-up. Lost your bottle eh Mr Wright? Anyhow Keira is wrong; the scene she will be famous for is the one where the housekeeper's son did it with conviction in the library.

Then when Briony's friend and cousin, Lola is attacked and presumably raped, as a childish act of revenge, she lies to the police and wrongly accuses Robbie. The police believe her, and Robbie is imprisoned and thus separated from Cecilia.

After such a whirlwind of a start, the film then falls a bit flat. We move on four years and Robbie is in the army to attain early release from prison. He pines to get back to Cecilia, who is now working as a nurse in London. Meanwhile Briony, who has now realised her mistake, is trying to atone for it.



Some of the scenes in France and particularly at Dunkirk (shot in Redcar), are overlong and did not appear to add much to the film. It would have been better to have spent more time wallowing in Briony's guilt and on the relationship between Robbie and Cecilia and how this affected the family etc but I don't know if the book deals with this or not.



It picks up again towards the end. Robbie confronts Briony about what she's done, his anger causes her to cower in the corner, terrified he will strike her. I almost stand up and for the second time I want Keira to say to McAvoy 'Go on then Robbie', lets see you put her through that window but sadly no he doesn't.

At the end Vanessa Redgrave appears as an elderly Briony and tidies up all the loose ends. Not. Instead she delivers an unexpected twist that had all the girls in the audience reaching for the Kleenex and all the boys muttering 'Cool' under their breath. It's all so Ian McEwan. Ultimately she finds a way of telling a second lie to try and atone for the first, if only in her own mind.

Overall, a mostly riveting film full of young British talent with a very clever story. Even old Keira Flat Chest was not as wooden as usual and didn't do anything wrong but then all she had to do was smoke, look wistful and shag McAvoy. Not terribly taxing and her accent seemed all Middlesex girl pretending to be an American actress playing an English girl.

McAvoy was actually rather good, although he did seem to leave his accent somewhere in the French countryside. Although for me he'll never top being strung up by his nipples in The Last King Of Scotland. His finest moment.

The star though was Saoirse Ronan who was outstanding as the young Briony.

I don't like a happy ending and this one spoilt the film a touch for me. Having them frolicking by their dream cottage that they never shared in real life was over the top. As were scenes like seeing Cecilia floating artistically beneath the underground.

The film will surely pick up Oscar nominations:- best film, director Joe Wright, actor (James McAvoy), supporting actress (Saoirse Ronan), editing, cinematography, the haunting score, which reverberates throughout the film with the rhythmic tapping of typewriter keys... blimey they might even give Keira a mention.

Obviously Knightly/McAvoy fans will like this film no matter what. For everyone else it'll depends on whether you 'get' Ian McEwan or not. I rather liked it. What's next Ian?