The Point of View of War in Atonement - Movie Review Example

The Point of View of War in Atonement The concept of war in British cinematic history has been characterized by agradual evolution in the eventual transformation of British society itself; yet, one aspect which has failed to change in this timeframe is that the nation remains clung to the fascination or even the anxiety of war and with specific regard to World War II, the succeeding impact of what occurred decades ago. Observing the depictions of war in the realm of the British entertainment industry which encompasses the mediums of both film and television, Boyce (2012, p. 1) recounts the example of an episode of Faulty Towers (1975) wherein, a scene capturing a casual conversation regarding food which takes place between the primary actors John Cleese and Connie Booth, is somehow guided towards the topic of war. For Boyce (2012, p. 1) this simple fumble is not essentially an unintentional act but is in fact a profound realization of the inherent insecurities and apprehensions of British society which have been triggered by the war, similarly, fast forward almost twenty-five years later and media outlets set out to comparing the freezing 2010 winters which hit London as being analogous to the bombings that were carried out by Germans. Boyce (2012, p. 1) aptly puts this phenomenon in words by highlighting the fundamental significance of war for common citizens in their everyday lives and stating that “…anxieties about the war lay just beneath the surface of the British psyche”. The aforementioned premise essentially establishes the foundation for the discussion which has been conducted in this paper. Focusing upon the aspect of war and identifying it as a contemporary constituent of British society, the essay compares the point of war in Atonement (2007) by integrating certain elements of Anthony Minghella’s work The English Patient (1996). While, this assertion is not yet certified or authenticated it is often claimed in cinematic circles and by viewers of cinema that much of filmmaking has been based on the plot or thematic element of war, thereby, singlehandedly transcending and surpassing other contemporary aspects or factors of relevance and pertinence (Stewart and Carruthers 1996, p. 75). Accordingly, the fascination with war and the tales that are associated with it sheds light upon several questions of concerns, such as the accuracy of these depictions and their proximity to reality in addition with the prospect that these portrayals may entirely be the figments of directors’ imaginations which have been brought to the audiences through the medium of film. Answering the aforementioned concerns and questions from the perspective of Atonement (2007) it is important to incorporate the genre of the film adaptation – the tale narrates the experience of love, betrayal, regret, jealousy and eventually the journey of penance. Amidst this staggering display of emotions the status of war rises to the surface as being the sole event which has the potential to surpass emotions and become a hard hitting reality. In terms of the overall depiction of helplessness and vulnerability that war can bring upon those who are crossing enemy lines – the soldiers it can be stated that through Atonement (2007), the viewer gets to delve into loneliness and the psychological state of thousands of British soldiers who are a part of the Dunkirk evacuation. As an event of focus throughout the part of the film where the character of Robbie remains stranded in Dunkirk, Atonement (2007) successfully evokes feelings of loss, despair and hopelessness which can be triggered by an incident of such magnitude where the chances of survival appear to be bleakest and endurance is constantly challenged. Eventually, the emotional transition which is triggered by the diminishing prospects of the soldiers’ existence revives a sense of fear on the part of those who remain stranded and the audience, to a great extent can also connect with this emotion of fear and ambiguity. From the perspective of British society, the projection of an event such as the Dunkirk evacuation in Atonement (2007) revives and reiterates the statement of Boyce (2012, p. 1) regarding the existence of a fear of war which resides beneath the psychological makeup of the members of society. The most critical urgency in such times of war is marked by a desperate need to survive crippled with the unbinding fear that this prospect may be diminishing as even seconds go by. In such scenarios even the most valued ties come second to life and the viewer is invited to experience the uncertainty of the character’s fate. Higson (2011, p. 227) suggests that in terms of creating and executing war sequences which have a potential to fully demonstrate the extent of the soldiers’ suffering and the ruthless scenario of war, the team of Atonement (2007) has produced a sincere effort which presents a stark contrast from the portrayal of the Tallis household, their lifestyle and opulence. One particular war sequence in Atonement (2007) which leaves a profound impact on the audience is that of the confrontation between a RAF pilot and several members of the British army who descend upon the individual in a possible depiction of the illogical violence which is induced by a desire for revenge and reprisal in times of war. To a great extent the execution of this scene has been conducted by the filmmakers to portray herd mentality and its culmination in harsh times of war and conflict when a number of individuals may be influenced by each other to commit horrendous activities and inflict injury upon another human being when they would rather not resort to such actions in scenarios of normalcy. Yet again, the crux of Atonement’s (2007) perspective of war strikes a balance between the emotional and psychological element of the event as well as the physical injuries and loss of life which is inevitably experienced in the midst of such circumstances. Based on the foundation of the Second World War, the compelling love story which is featured in The English Patient (1996) enhances the possibility of overshadowing the harsh truths of war and the impact which it left upon those who fought it, yet, Ty (2000) postulates that the aspect of society on which the work thrives upon is a subject that has remained unexplored in other works or tales set in the period. Therefore, while Atonement (2007) describes the inherent uncertainties which are faced by the soldiers on the battlefield, The English Patient (1996) dabbles with the storyline of immigrants, refugees and those who have been banished from their homelands as a consequence of war. For Pesch (1997) the tale creates what can be essentially identified as a “post-apocalyptic world” and this exactly what the motion picture The English Patient (1996) translates upon the screens. The doomed, ravage and dilapidated settings signify a period of transition where nothing remains and thus, everything needs to begin. In the sense of the significance which this depiction holds for British society, it can be stated that the period signifies an important phase in the nation’s history where reclaiming lost livelihoods and starting anew became more important than ever. Integrating the portrayals of the war in the two films with each other, it can be stated that The English Patient (1996) begins where Atonement (2007) departs. As the consequence of war reach their zenith and culminate into a scenario which no longer be borne by those who are suffering their comes a point when society has to accept that the key to survival is to hope for a better tomorrow, as lost hope cannot possibly enhance endurance. Eventually, what is depicted in Atonement (2007) from the point of war is a sheer sense of loss of self, loss of one’s loved ones and even a loss of humanity. The portrayal of war in Atonement (2007) is therefore, an inherently personal journey largely seen from the perspective of Robbie who is fighting the war and also Cecilia who is dedicated her life to the nursing corps. As the audience is introduced with the scenario that Robbie and Cecilia are never reunited and parted through their eventual deaths in different yet parallel circumstances in the Second World War, the finale of the film becomes very much a reminder of the dark consequences of war and the lasting impact which it has left upon British society which is characterized by the loss of civilians, staff and soldiers who dedicated their life for the country. This notion also postulates that to explore the aspects of war, it is not necessary for the cinematic portrayals to depict visually what can be best defined in terms of emotion and feelings. Moreover, Atonement (2007) which is a journey that begins from love and ends in death also sheds light on the aspect that perhaps many untold stories of those who lost their lives during war could have met with a happy ending had it not been the circumstances which befell upon them – it is both intriguing and saddening at the same time. References Boyce, M. W. (2012). The lasting influence of the war on postwar British film. New York, NY: Palgrave Macmillan. Higson, A. (2011). Film England: Culturally English filmmaking since the 1990s. London: I.B. Tauris. Pesch, J. (1997). “Post-Apocalyptic War Histories: Michael Ondaatje’s The English Patient,” ARIEL 28.2: 117–39. Stewart, I., & Carruthers, S. L. (1996). War, culture, and the media: Representations of the military in 20th century Britain. Trowbridge, Wiltshire: Flicks Books. Ty, E. (2000). The Other Questioned: Exoticism and Displacement in Michael Ondaatjes The English Patient. International Fiction Review, 27, 10-19. Wright, J., Bevan, T., Fellner, E., Webster, P., Hampton, C., Eyre, R., Fox, R., ... Universal Studios Home Entertainment (Firm),. (2007). Atonement. Zaentz, S., Minghella, A., Fiennes, R., Binoche, J., Dafoe, W., Scott-Thomas, K., Andrews, N., ... Buena Vista Home Entertainment (Firm). (1996). The English patient. Burbank, CA: Miramax Home Entertainment. Read More