But after this the film is much less satisfying. Although crammed with incident, it remains emotionally static and unconvincing, even before it reaches that tricky bit of storytelling sleight-of-hand at the end. The recreation of the evacuation at Dunkirk is remarkable, but it throws the film out of balance visually – nothing else is conceived on such a large physical scale. The brilliant beginning has built up hopes in the audience that are nearly impossible to fulfill.
The film’s musical score by Dario Marianelli (who also worked with Joe Wright on Pride and Prejudice) deserves special mention. It captures the intense romantic yearning and tragic regret that infuse the story. The soundtrack album, brilliantly recorded, is very beautifully performed by the English Chamber Orchestra, with outstanding solos by the renowned pianist Jean-Yves Thibaudet and the cellist Caroline Dale. My only objection is to a device that works well in the film but is jarring and distracting for home listening: a typewriter’s loud striking provides percussion in several of the cuts. It’s another attempt to translate a written story about written stories into movie language.
See Atonement for its performances and its beautiful production and its nearly perfect opening section. Be prepared for frustration after that. It’s a good but deeply flawed film.
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