THE CHILDREN ACT - Crimbo Binge-watch #9

Celebrated theatre director Richard Eyre (the superb NOTES ON A SCANDAL) returns to our screens with his adaptation of Booker Prize winning author Ian McEwan's THE CHILDREN ACT. A stunningly good Emma Thompson plays a high court judge who has to rule on a case where parents are refusing their child a life-saving blood transfusion on account of their faith.  The ruling is made, and without spoiling it, the ramifications are emotionally intense, both for the teenager involved and for the judge.  The teenager is played by Fionn Whitehead, who starred in DUNKIRK, but has far more to do here, and is really quite impressive, holding his own against Emma Thompson in an intellectually complex role. Stanley Tucci has rather less to do in what is essentially a two-hander.  

At first I thought this was going to be a rather sterile intellectual film, and the first half hour does take place mostly in court.  But as with all McEwan there's deep passion and provocation underneath that.  The film questions the idea of faith, the rights of children, and the sacrifice of family for career. It even questions the idea of judicial intervention and apparent neutrality. I found it to be a deeply stimulating film, and in its final scenes, profoundly moving.  I have no idea why Emma Thompson didn't receive wider recognition for her part. 

THE CHILDREN ACT has a rating of R and a running time of 104 minutes. It was released in 2018.

ATONEMENT - showy and weighty where it should have been slippery and elegant

ATONEMENT is handsomely designed and photographed film. But the design is so insistent as to be distracting. The classic example is the much-praised 5 minutes tracking shot of Dunkirk, which looks stunning, but advances the film not one jot. Another example is the incredibly obvious and self-conscious sound design that incorporates typewriter keys into the orchestral score. The worst example is a scene in a tea-room that Joe Wright directs as a pastiche of BRIEF ENCOUNTERS. And here we come to the heart of my criticism of ATONEMENT - Keira Knightley's mediocre performance in the central role. If it is possible, her accent becomes even more strangulated than usual - standing in sharp contrast with the more natural cadences of Benedict Cumberbatch, Saoirse Ronan et al. The limits to Knightley's range are most clearly shown in a scene between herself, James McAvoy, Romola Garai. Garai in particular, and McAvoy to a lesser extent, act her off the screen.

So what is left to like? A very impressive supporting cast, including Brenda Blethyn, Gina McKee and I thought I detected a cameo by Tobias Menzies? Most importantly, Ian McEwan's intelligent and genuinely affecting story is left almost untouched by Christopher Hampton's faithful script. I won't give a synopsis because I think it's important that you see the key events fresh in the cinema and unaffected by reviewer's interpretations. This goes to the heart of the story. Suffice to say that this is a movie about class difference, thwarted love, misperceptions, a lifetime of regret and the impossibility of narrative.

Apparently, some reviewers have hailed ATONEMENT as an "instant classic". Let's be clear. It's no FRENCH LIEUTENANT'S WOMAN. Nor is it BRIEF ENCOUNTERS. It is a well put-together if highly self-conscious WW2 drama in which a better than usual script offsets a weaker than usual leading lady. As such, it justifies a viewing but not hysteria.

ATONEMENT played Venice 2007 and is currently on release in the UK. It opens in Italy and Finland later in September and in Turkey in October. It opens in Argentina, the Netherlands, Germany, Hungary, Norway and Sweden in November. It opens in the US, Singapore, Slovakia and Australia in December and in Belgium, France, Denmark and Spain in January 2008. It finally rolls into Mexico in March.