It’s not looking good for Atonement. Joe Wright’s marvelous film, which only a few weeks ago seemed to be a shoo-in for serious Oscar consideration, has suddenly lost its steam after the Actors' , Writers’ and Directors’ guilds all decreed it unworthy of their nominations. At least the Art Directors s showed some appreciation, but having the ensemble, Christopher Hampton and Wright all being overlooked by their peers is really disappointing.
I just don’t get it. And neither do many others, given the postings and debates on various forums. Check out the banter and more than a hundred postings on ths very subject at Awards Daily to see what I mean. True, some of the reviews weren’t exactly rapturous, but other critics and moviegoers find it to be one of the best films of the year. That’s the camp to which I belong (and Peter Travers, too…see his review here. )
I just don’t get it. And neither do many others, given the postings and debates on various forums. Check out the banter and more than a hundred postings on ths very subject at Awards Daily to see what I mean. True, some of the reviews weren’t exactly rapturous, but other critics and moviegoers find it to be one of the best films of the year. That’s the camp to which I belong (and Peter Travers, too…see his review here. )
What bores me the most are those who whine and snipe, “It’s too Masterpiece Theatre! It’s too English Patient-y! Oh, please it is sooo Merchant-Ivory!!” Fine. And to each of them I say, kindly excuse me while I shove my tea and crumpets up your Howards End.
Atonement is great. It’s one of the best films of 2008, anchored by Hampton’s terrific adaptation of Ian McEwan’s lovely and difficult-to-adapt tome. And the performances are among the best of the year (I even loved Brenda Blethyn’s wild-eyed attack on the police car by moonlight). But what makes it such a treat for me is Joe Wright’s direction. Here’s a young guy who is obviously crazy about the magic of movies, and delights in nudging, sometime shoving the boundaries of this art form’s wizardry. I thought his take on Pride and Prejudice was delightful. Yes, I love the novel, too. And yes I loved Simon Langton’s 1995 five-hour adaptation that naturally gave us much more Austen. But Wright’s version still captured its essence, due, of course, in large part to Keira Knightley’s sumptuous performance which once and for all exorcised all memories of Greer Garson – and it also delighted us with that wonderful, show-offy tracking shot during which the camera weaved and danced throughout the ball at the Bingley manor.
This was obviously a warm-up for the greatest sequence in Atonement, and easily my favorite moment of any film this year, and that is the scene at Dunkirk. I read somewhere that this shot rolls on uninterrupted for more than five minutes. All I know is that I’m pretty sure my jaw dropped half way through. I thought about similar shots in Boogie Nights, and Goodfellas, and Touch of Evil. Maybe I’m just a sucker for showmanship. And maybe I’m losing some credibility here, but when a big sweeping historical romance comes along with all of its production values so absolutely right, then I’m very happy indeed.
I know it’s not over yet. Maybe the Globes will be kind. Let’s hope.
Atonement is great. It’s one of the best films of 2008, anchored by Hampton’s terrific adaptation of Ian McEwan’s lovely and difficult-to-adapt tome. And the performances are among the best of the year (I even loved Brenda Blethyn’s wild-eyed attack on the police car by moonlight). But what makes it such a treat for me is Joe Wright’s direction. Here’s a young guy who is obviously crazy about the magic of movies, and delights in nudging, sometime shoving the boundaries of this art form’s wizardry. I thought his take on Pride and Prejudice was delightful. Yes, I love the novel, too. And yes I loved Simon Langton’s 1995 five-hour adaptation that naturally gave us much more Austen. But Wright’s version still captured its essence, due, of course, in large part to Keira Knightley’s sumptuous performance which once and for all exorcised all memories of Greer Garson – and it also delighted us with that wonderful, show-offy tracking shot during which the camera weaved and danced throughout the ball at the Bingley manor.
This was obviously a warm-up for the greatest sequence in Atonement, and easily my favorite moment of any film this year, and that is the scene at Dunkirk. I read somewhere that this shot rolls on uninterrupted for more than five minutes. All I know is that I’m pretty sure my jaw dropped half way through. I thought about similar shots in Boogie Nights, and Goodfellas, and Touch of Evil. Maybe I’m just a sucker for showmanship. And maybe I’m losing some credibility here, but when a big sweeping historical romance comes along with all of its production values so absolutely right, then I’m very happy indeed.
I know it’s not over yet. Maybe the Globes will be kind. Let’s hope.
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