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Desejo e Reparação (Atonement)

Bob Harris

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Review bastante positivo da Variety.





Keira Knightley star in 'Atonement.'

Rarely has a book sprung so vividly to life, but also worked so enthrallingly in pure movie terms, as "Atonement," a smart, dazzlingly upholstered version by young British helmer Joe Wright of Ian McEwan's celebrated 2001 novel. Period yarn, largely set in 1930s and 1940s England, about an adolescent outburst of spite that destroys two lives and crumples a third, preserves much of the novel's metaphysical depth and all of its emotional power. And as in Wright's "Pride & Prejudice," Keira Knightley delivers a star turn -- echoed by co-thesp James McAvoy -- that's every bit as magnetic as the divas of those classic mellers which pic consciously references. Released in Europe next month, and Stateside as a specialty item via Focus in December, this should reap good returns on the back of positive reviews and figure heavily in upcoming kudo derbies. It proved a popular opener of this year's Venice fest.

Though clearly by the same director, film is almost the polar opposite of Wright's debut. Where "P&P" took a relatively free hand in reworking Austen's classic in more youthful terms, "Atonement" is immensely faithful to McEwan's novel, with whole scenes and dialogue seemingly lifted straight from the page in Christopher Hampton's brisk adaptation.

And where "P&P" took a deliberately unstarchy, more realistic approach to Austen's universe, "Atonement" consciously evokes the acting conventions and romantic cliches of '30s/'40s melodramas -- from the cut-glass British accents, through Dario Marinelli's romantic, kinetic score, to the whole starchy period look.

It's a gamble that could easily have tilted over into farce. But as in "P&P," Wright's approach is redeemed by his cast and crew, with leads like Knightley, McAvoy and young Irish thesp Saoirse Ronan driving the movie on the performance side and technicians like d.p. Seamus McGarvey and designers Sarah Greenwood and Jacqueline Durran providing a richly decorated frame for their heightened playing.

Like the novel, pic plunges straight into the events of a hot summer's day in rural southeast England, 1935. As 13-year-old Briony Tallis (Ronan) hammers out "The End" on an amateur play to be performed at home, and strides through the family manse to present her masterpiece, pic succinctly sketches - exactly like the opening of "P&P" - not only the geography of the whole house but also most of the leading characters in a matter of a few minutes.

Bracing opening hardly pauses for breath as the first of the day's cumulative misunderstandings takes place. Briony watches from a bedroom window as her elegant but bored sister, Cecilia (Knightley), spontaneously strips down to her underwear and climbs into a pond to retrieve something for Robbie Turner (McAvoy). Robbie is the housekeeper's son who's been raised almost as part of the family but is forever several social notches below them.

Shocked at her sister's display of immodesty, and driven by confused child-adult emotions that are only clarified much later, Briony takes against Robbie, e ronetime friend. Hardly aware of the consequences, she exploits a stupid, shocking mistake by him later that day to blacken his name -- and then to separate him from Cecilia by linking him to a crime he never committed.

The consequences of her childish spite reverberate through the years. After coming out of jail, Robbie finds Cecilia, now separated (in disgust) from her family and working as a nurse in London. But it's a fleeting visit, as he's on his way to France to fight in WWII. By 1940, Robbie is one of thousands of soldiers in retreat and en route to Dunkirk, waiting for boats to ship them back to Blighty. In London, Cecilia still waits for him.

Meanwhile, Briony, now 18 (played by Romola Garai), is also working as a nurse, in an attempt to expiate the guilt she now feels -- as an adult -- about her actions that summer day. Briony's quest for atonement, for the chance of even a meeting with Robbie and Cecilia, fuels the pic's final, revelation-full 45 minutes, which packs one emotional punch after another.

Film's opening 50 minutes, entirely devoted to that single summer's day, is an immensely assured, rollercoaster ride of emotions, social manners and disguised class warfare, peppered with moments of stillness that capture the essence of the novel's detailed metaphysical background. Most cleverly, on two key occasions, Hampton's script comes up with a smart cinematic equivalent of the book's perpetual shuffling with time -- simply by replaying a scene, unannounced, from a different perspective and in more detail.

Like the performances themselves, pic is highly worked, a deliberate artifact. But its occasional technical trickery -- which reaches an apotheosis in the Dunkirk evacuation, captured in a jaw-dropping, four-minute steadicam shot worthy of Claude Lelouch in its human detail -- prepares the audience for the even larger structural and generic twists that make up the yarn's final third.

Where the movie disappoints is in not conveying the sheer enormity and petty viciousness of the "crime" that Briony commits - and the way in which all the family (apart from Cecilia) closes ranks against the once-favored outsider. Here, and in other parts of the movie, more breathing space would have helped: "Atonement" is one of those rare movies that feels too short rather than too long, and would have come home just comfortably at 135 or 140 minutes.

Also, by casting the charismatic Knightley in what is technically the book's subsidiary female role, Briony's character -- and her whole road to atonement -- is a tad shortchanged. Especially after Ronan's strong showing as the 13-year-old, Garai's rather dull, unconvincing perf as the adult Briony doesn't help to redress the balance: in her one scene opposite Knightley and McAvoy, Garai just doesn't hold the screen.

Other perfs are strong down the line, with vets like Vanessa Redgrave (as the older Briony), Brenda Blethyn (Robbie's working-class mom) and Harriet Walter (Briony's mom) in little more than cameos. Of the younger cast, both Juno Temple and Benedict Cumberbatch impress as Briony's sexually aware cousin and her brother's smug business friend.

But it's Knightley and McAvoy's film, both showing a star poise and physical elan that are most impressive. As the more controlled Cecilia, Knightley hints at the rebel behind the upper middle-class mask, while McAvoy shows a sheer emotional range that's completely new in his career. Like Irish thesp Ronan, the Scots actor also turns in an immaculate southern English accent.

Whole pic, including the French scenes, is convincingly shot around southern England, with a manse in Shropshire standing in just fine for the book's original Surrey setting. Curious decision not to shoot in widescreen almost seems to cramp McGarvey's graded visuals (bright, semi-pastelly summer to hard, colder wartime), and is a definite letdown in the Dunkirk section. Also strange is a caption announcing "four years later" for the Dunkirk material, when it's actually five.

Camera (Deluxe Color prints), Seamus McGarvey; editor, Paul Tothill; music, Dario Marianelli; production designer, Sarah Greenwood; supervising art director, Ian Bailie; costume designer, Jacqueline Durran; make-up/hair designer, Ivana Primorac; sound (Dolby Digital/DTS Digital), Martin Jensen; specal effects supervisor, Mark Holt; visual effects supervisor, John Moffatt; assistant director, Josh Robertson; casting, Jina Jay. Reviewed at Venice Film Festival (opener, competing), Aug. 29, 2007. (Also in Toronto Film Festival, Special Presentations.) Running time: 122 MIN. English, French dialogue



Criticaram a performance da Garai, falaram que podia ser mais longo também. De resto.. 1010
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Uma crítica EXCELENTE do Hollywood Reporter!



Bottom Line: Splendid treatment of a fine novel about love and war, and a devastating lie.

By Ray Bennett

Aug 30, 2007


Venice International Film Festival

VENICE, Italy -- "Atonement," Ian McEwan's best-selling novel of love thwarted by juvenile fantasy, has been rendered on screen so well by director Joe Wright and screenwriter Christopher Hampton that it ranks with the best novel adaptations of recent times. It was the opening film in competition at the Venice International Film Festival.

With compelling and charismatic performances by Keira Knightley and James McAvoy as the lovers, and a stunning contribution from Romola Garai as their remorseful nemesis, the film goes directly to "The English Patient" territory and might also expect rapturous audiences and major awards.

Like that film, "Atonement" deals with lovers parted by pitiless fate and promising to come back to each other in a time of war. It captures impeccably three periods of English life -- before, during and after World War II -- in its parallel stories of aching romance and deepest regret. Wright and Hampton keep the structure of McEwan's novel so that the story's revelations are well hidden though foreshadowed and revisited cinematically in very clever ways. The first section deals with mid-1930s life in the Tallis family, minor-league aristocrats who bask in lazy wealth at their bucolic pile in the countryside. Father is seldom at home, but mother (Harriet Walter) maintains strict upper-middle-class standards, tolerant of Cecilia (Knightley), with her college degree, and indulgent toward 13-year-old Briony (Saoirse Ronan), who often disappears into her own fantasies.

It's a family weekend, and first-born Leon Tallis (Patrick Kennedy) has brought his friend Paul (Benedict Cumberbatch), a wealthy chocolate manufacturer, to dinner. Also invited is the son of the family housekeeper (Brenda Blethyn), a young man named Robbie Turner (McAvoy), whose Cambridge education has been paid for by Tallis senior.

It is when Cecilia and Robbie discover and act on the passionate love that underpins their friendship that everything begins to unravel. Young Briony, who once had a crush on the handsome young man, witnesses two of their encounters. Wide-eyed and impressionable, she sees the agitation of lovers hot with anticipation and concludes it's harmful aggression. Lovemaking in her eyes becomes assault.

A note that should never have been sent confirms her direst imagination, and when she surprises cousin Lola (Juno Temple) coupling in the woods and the man runs off, she instantly concludes it was Robbie. In a fury of righteous ignorance, she makes public her accusation, and he is taken away in handcuffs.

Like the book, the film jumps four years to find the devastated young man now a soldier lost in France and fleeing with the rest of the British army toward the English Channel. Director Wright, cinematographer Seamus McGarvey, production designer Jacqueline Durran and editor Paul Tothill create astonishing sequences that depict the bungling of warfare, the randomness of death and the horror that results. Dario Marianelli's evocative score, with typewriter keys used as percussion, adds greatly to the film's emotional power.

The British army's remarkable retreat from Dunkirk has taken on a rosy hue over the decades, but "Atonement" reveals it as the hell it really was. A hell matched in England when the survivors show up at the hospital where the now 18-year-old Briony (Garai) is working as a nurse.

Tending to the brutally wounded and holding the hands of dying men serves only to amplify the plunging remorse that the young woman feels for destroying her sister's great love. The film's title derives from her wish to atone for her behavior and bring the lovers back together.

Garai shows extraordinary poise in these scenes, saying very little, as the director allows her formidable expressive powers to convey everything. Ronan is good, too, as the obsessed young Briony, and Vanessa Redgrave completes the trio with some typically concise and seemingly effortless heavy lifting in the film's shattering closing moments.

- - -


Um resumo: Desta vez, elogiam MUITO a Garai e afirma ser uma das melhores adaptações em tempos. Infelizmente, comparam-o com 'O Paciente Inglês'. 07
Rike2007-08-29 18:46:03
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Saiu um Review da trilha sonora do Dario. 10



Empire Review
It remains to be seen if Joe Wright has whipped up another Oscar nomination for his favourite actress Keira Knightley on their second collaboration, but there’s no doubt whatsoever that composer Dario Marianelli has topped his impressive work on Pride & Prejudice by a country mile.

In what is rapidly becoming a vintage year for film scores, Marianelli has produced a piece of work little short of a miracle.

Beginning with a wickedly accurate pastiche of the score-by-numbers that accompanies most period films, dutifully piano and string-led, it bounds along happily like any number of BBC Austen adapts until the arrhythmic jabs of a typewriter kick in.

Gaining all the menace of Jaws’ double bass, this interloping beat is accompanied by slyly leaping strings that veer in and out of minor keys with such chilling speed that you almost miss its subliminal power, and these jabs in turn weave in and out of a lovely central theme.

Marianelli also steers clear of sentimentality, even on the romance tracks. Bordering on the forthright rather than the lovelorn, the swooning cello and rippling piano on With My Own Eyes in particular has a simplicity that makes the usual trembling love theme seem rather cheap.

The only track that could possibly be accused of sentiment is Debussy’s gorgeous Clair De Lune, and it would take a hard heart indeed to criticise the album on those grounds.

Sympathetic and stingingly bitter at every turn, Marianelli has not only managed to catch the various nuances of Ian McEwan’s novel to perfection, but has also written his own film for the listener.

Absolutely stunning; you need to buy this immediately.

Reviewed by Kat Brown

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Mais duas críticas...


Críticas atrasadas de Atonement...



"Wright's worthy follow-up to Pride & Prejudice combines the novel's literary qualities with highly polished acting and production values, resulting in a classy tale of a doomed romance, with brilliant, Oscar-caliber turns from Knightley and MacAvoy."
Click%20for%20Full%20Review  [movie review]




Emanuel Levy



"A skilful directorial touch and a refreshingly smart script. And the acting is good enough to carry us through the slightly dull patches."
Click%20for%20Full%20Review  [movie review]


Shadows on the Wall


Rich Cline



Não li nenhuma negativa até agora. 02
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Hahahahaha. Espero que não, Ber. A Legenda está HORRÍVEL de se ler.




Vou postar minha resenha aqui também. 02



Desejo & Reparação (Atonement - 2007 - Dir.: Joe Wright)

São raríssimas as adaptações as quais são transpostas da maneira mais fiel possível para as telas. Geralmente, muito se perde e a comparação entre a versão literária e cinematográfica se torna inevitálvel, sendo, esta última, inferior. Felizmente, Desejo & Reparação é uma destas exceções: uma produção adaptada de maneira perfeccionista.

Um dos primeiros impactos é conferir certa divergência (estética, principalmente) entre o primeiro filme do diretor Joe Wright. Enquanto em Orgulho e Preconceito se caracteriza pelo seu formato classicista hollywoodiano, aqui temos um filme essencialmente britânico. Wright ousa, abusa de planos subjetivos, concebendo uma direção corajosa. É um trabalho mais intimista, pessoal, assim como o próprio desenrolar narrativo.

Assim como na obra litetária, Desejo & Reparação é lento, o que, ao contrário do entediar, só contribui para manter a atenção do espectador. Uma característica bastante marcante do roteiro são os toques de humor britânico (presentes, em sua maioria, no primeiro ato), os quais são responsáveis por produzir risos na platéia. Neste primeiro ato, somos remetidos a obras como 'O Leopardo' de Visconti e 'O Assassinato em Gosford Park' de Rober Altman: a crítica ao comportamento burguês é muito bem idealizada.

No segundo ato, há uma óbvia mudança de tom narrativo. Wright resolve se influenciar por melodramas clássicos da década de 30 e 40. Sim. Espere músicas melosas, e algo bastante açucarado. Entretanto, tal apelo soa plenamente plausível ao desfecho do filme. Aliás, talvez Desejo e Reparação seja uma das obras de maior potencial de demonstração de como os meios de comunicação são manipulativos. E digo: o desfecho é algo perturbador e provoca o mesmo efeito do livro.

Outro elemento bastante característico é o forte estudo psicológico da protagonista, Briony. E é impressionante como três atrizes conseguem realizar um trabalho magistral de interpretação. Saoirse Ronan é uma revelação e não creio que outra atriz conseguiria transmitir sensações paradoxais como esta. Ao contrário das mais variadas críticas que tem recebido, Romola Garai está muito, mas muito bem. É difícil escolher a favorita, entretanto, acredito que escolheria Garai: a fragilidade da personagem é retratada com excelência. Vanessa Redgrave, por sua vez, faz uma ótima contribuição. Não acredito que mereça indicação ao Oscar, mas é uma presença imponente e poderosa. Todavia, o maior destaque de Desejo & Reparação, na minha opinião, é James McAvoy. Não hesito em afirmar que é uma das melhores atuações do ano. É sincera, sólida, honesta, assim como o estado de espírito dele. Excelente mesmo. Uma surpresa, por sinal. Já Keira Knightley cumpre o seu papel e compõe uma bela dama deste período, nos remetendo a Vivian Leigh e Ingrid Bergman.

Elogiar os aspectos técnicos pode até soar redundância, mas que belo trabalho de direção de arte e fotografia. A seqüência em Dunkirk é absolutamente de tirar o fôlego. Esta direção de Wright merece, de fato, ser reconhecida. Ele comprova ser habilidoso com a câmera e cria inúmeras passagens desconcertantes, emocionantas. É de encher os olhos.

Como fã do livro, é imprescindível dizer que poucas vezes saí tão satisfeito do cinema. É uma transcrissão PERFEITA e todo o buzz que o filme vem recebido justifica-se. Entretanto, por incrível que pareça, não acredito que será indicado ao Oscar de Melhor Filme por alguns motivos. Apesar da premissa se assemelhar com O Paciente Inglês, Cold Mountain, entre outros, Desejo e Reparação é um filme completamente divergente em sua concepção estética e narrativa. Como afirmei antes, é essencialmente britânico. Sua divulgação, de fato, nos remete a produções Hollywoodianas de alta escala, mas tenha em mente que se trata de algo bastante diferente. E, obviamente, isto o torna complexo demais para o público convencional. São características limitantes ao prêmio. Entretanto, não vejo isto como algo pejorativo pois, temos, aqui, um exemplar da mais pura expressão artística, se revelando reflexivo, perturbador, pessoal, que não necessita de premiações para se firmar. Wright comprova o seu talento com brilhantismo.

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E Keira já vai ganhando premio pela atuação em atonement.




























































































































Jude Law and Keira Knightley take honours

By Laura Clout

Last Updated: 1:40am GMT 19/11/2007

Jude Law and Keira Knightley were crowned king and queen of the big screen last night at the Variety Club Showbiz Awards.

The stars were named Film Actor and Actress of the Year at the event at the London Hilton.

Knightley won critical acclaim for her role in the film adaptation of Ian McEwan's Booker-nominated novel Atonement.

Law, however, has received only lukewarm reviews for his film Sleuth, which premiered in London last night.


winners included Philip Glenister, who took TV performance of the year

for Life on Mars and Michael Parkinson for outstanding contribution to


Keira Knightley won acclaim for her role in the film Atonement



Caine, who starred in the 1972 original of Sleuth, reprises the role

then taken by Laurence Olivier as an ageing writer while Law, 34, steps

into Caine's shoes as a struggling actor who has stolen the heart of

the older man's wife.

Meanwhile, in the United States another clutch of British stars is waiting to find out whether they too will win accolades.


International Emmy Awards honours television produced outside the US.

Britain has secured eight nominations, more than any other country this


Nominees include Victoria Wood, Jim Broadbent and Stephen Fry.






Fonte: http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/11/19/nshowbiz119.xml





th_12922_keira-knightley-variety-club-sho-1_122_169lo.jpg th_12924_keira-knightley-variety-club-sho-2_122_126lo.jpg th_12925_keira-knightley-variety-club-showbi_122_387lo.jpg



lizbennet2007-11-20 22:07:46

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Não vejo motivo para tanto receio quanto à adaptação.  Adaptar O Paciente Inglês' date=' seria, a priori, bem mais complicado, e o roteiro ficou excelente.  O mesmo vale para As Horas.


Agora: Pelo amor de Deus, me recuso a citar o título em português.

Citar O Paciente Inglês e As Horas no mesmo parágrafo é um crime!
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Assisti ontem no Festival Internacional de Cinema, aqui em Brasília.




Esperava mais. Li o livro há uns 2 anos e gostei bastante, o que acabou

deixando minhas expectativas um tanto elevadas. Não que o filme seja

ruim, longe disso. É muito bem produzido, com boas atuações e uma

seqüência impressionante, a da praia de Dunkirk.




Porém não me empolgou por algum motivo. Provavelmente o principal é a

inevitável simplificação durante o processo de transposição para o

cinema. A 1a parte do livro, minha preferida, passa muito rápido. É uma

adaptação bem feita, fiel à obra original, só que para mim a história

funciona melhor no papel. E saber o final também atrapalha, tanto no

filme quanto nas vezes que reli o livro.




Resumindo, é um bom filme que recomendo sem medo. Mas acredito que quem não leu o livro vá curtir mais.


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Acabei de assistir, e amei! Eu esperava bastante do filme e vi bastante.

Muito fiel ao livro, maravilhosoooooooooooo, trilha linda, fotografia maravilhosa, atuações ótimas...enfim, um ótimo filme.

Por falar em atuações, McAvoy está ótimo! Adorei a atuação dele.

Que trabalho de direção incrivel, a cena da praia é linda linda linda, muito emocionante, alias, filme inteiro é emocionante! 06 No final do filme quase perdi meu olhos te tanto chorar, magnifico. Impossivel não se emocionar com esse filme. Amei 05

Escreveria uma resenha linda assim como a do Rike se eu soubesse escrever bem e me expressar, porque esse filme merece, mas como não sei...fica ai meu simples comentário 06



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