Into the Fire

Much as mankind might think he can make amends for his wrongdoing and even strive to do so, it will not happen. I knew the film “Atonement” [Golden Globe winner for Best Drama] was adapted from a novel written by Ian McEwan, but I didn’t know Mr. McEwan proclaimed himself an atheist. I learned this on Mike Duran’s blog “Decompose” where he reviewed this movie, too (http://mikeduran.com/).

I didn’t read Mike’s review until I viewed the film which takes place starting out in England during the World War II era, so afterward when I read the background information Mike provided in his account, everything suddenly made sense.

This is a haunting film from beginning to end. While initially set in idyllic splendor with the exception of rather daunting hallways of an estate’s mansion where a young precision stepping girl sets about on her missions of self-serving writing adventures and mischievous ploys, she discovers through an upstairs window the focus of her romantic crush in a circumstance with her older sister. After a tussle involving an expensive vase with the handsome young man (Robbie) several years older than the younger sister (Briony, appropriately pronounced Briney), her older sister Cecilia removes her outer clothing to retrieve the handle of the broken vase in the water of a fountain-like structure. When Cecilia surfaces with the piece, her clothing reveals her near nakedness to the young man who stares transfixed before remembering to politely turn away as she once again covers herself with her outer garment.

This incident provides an agonizing series of multiple note typing by the young man attempting to apologize for his behavior concerning the vase. After all, they’re from “different stations” in life as Cecilia replies to Briony’s earlier inquiry when she’s asked if she likes Robbie, the gardener’s son. After many discarded letters, the frustrated young man writes a vulgar but passionate note regarding his true desires and laughs at the conclusion to it without crumpling and tossing it as he has the many others. He then writes the perfect apology and signs the note, but somehow as he’s preparing the note for envelope, he inserts the vulgar note and deposits it with Briony, asking for her assistance in delivering the epistle to her sister. It is only afterward that he realizes he has inserted the wrong letter.

Briony, of course, cannot resist reading it on her way to deliver it and in fair distress hands it to her sister during a meeting of a guest her brother has brought to the estate. Cecilia realizes Briony has read the note before presenting it to her and is mortified after reading it herself. However, Cecilia is also attracted to its blatant sexuality and after Robbie arrives for a special party that evening, he later discovers Cecilia in the library where they admit their feelings to one another and proceed to a sexual encounter, the curious and seemingly ever present Briony discovering them poised in the aftermath.

In the young girl’s mind her object of affection has become her betrayer, and she is soon able to betray him. That very night he is whisked off the estate in a police car asserting both his confusion and his innocence. Cecilia has no doubt of his truthfulness and suspects her little sister has fabricated the claims of his involvement in the supposed crime.

Keira Knightley is perfect in what begins as both a smug and sensual role in spite of her anorexic appearance. James McAvoy captures the just right mixture of a young stud with a genuine heart later transformed by the incident and the war to a broken and wounded young man , while the little sister played by Saoirse Ronan is intermittently haughty and vulnerable, conniving and naïve.

Once in a great while, I remember what it felt like to watch films such as this without the light of salvation. There were many years where movies just like this one would’ve resonated with me and given me pause. However, within the light of Truth this film strives to suggest something it cannot prove because of its failed premise and title.

Told in multiple flashbacks of the current results of past actions, the viewer is often unsettled and confused as to the reality of either past or present events. Cinematically, contrasting the supposed bliss and beauty of the country estate to the second part mostly filmed in the brown-tone of old photographs, we slide downward quickly amidst the brutal and torturous scenes of war. We begin to suspect the worst but are given flashes of hope that all will be righted before film’s end. The movie’s score and soundtrack is as much a part of the message as are the scenes, and it’s compelling to hear it used as an accompanying character. I do think at times the camera dwells too long on mood shots of the characters’ profiles. We get the nuances of their expressions without excessive focus.

The conclusion is dramatic and stunning, the much older Briony played impressively by the veteran Vanessa Redgrave. It reminds us that life is often cruel and vicious and certainly not redemptive when left to the likes of humanity. We rationalize and justify our mistakes and errors and never equivocate them to sin—thereby never needing a redeemer. There is no real atonement in this movie because there is no Savior for these unclaimed sins. It might better have been called “Justice”.

Thank you, God, for the amazing talents you’ve distributed to all kinds of peoples. If only they would look to you and give thanks for those gifts and in turn give glory to you when they create. Help me to give any kind of praise I might receive to you, in the Name of Jesus.

*Please continue to pray for Kristy Dykes.*