Atonement review

The novels of Ian McEwan have always been something of a tricky proposition for filmmakers, dealing (as they usually do) with how the minutiae of human life can often have consequences way beyond expectations. The Cement Garden and Enduring Love have been perhaps the most successful adaptations of the English writer's works thus far but Atonement stands way above them. It's a perfect realisation of McEwan's most popular book, and director Joe Wright and his crew should start clearing space in their houses for the awards that are sure to come their way.

Wright and his screenwriter Christopher Hampton (Dangerous Liaisons) have remained faithful to the original text and follow the three broad settings of the book. They begin by plunging us into a sweltering summer's day in a British country house between the wars. Here, a young girl named Briony (played with startling maturity by Saoirse Ronan) uses her overactive imagination not only to write her latest play but to cause long-lasting havoc for the adults around her as they prepare for a dinner party.

The assembled guests include Briony's older sister Cecilia (Keira Knightley) and her would-be suitor Robbie (James McAvoy) who is socially stymied in his pursuit by the fact that he is the son of the house cook (Brenda Blethyn). They are joined by the oily chocolate millionaire Paul Marshall (Benedict Cumberbatch), and all of them have their lives irrevocably changed by the action of young Briony.

The action switches time and place to the Battle of Dunkirk where the implications of the child's actions can be seen and where Joe Wright pulls off an audacious and breathtaking tracking shot that is the film's cinematic talking point. It's also worth noting that Hampton's screenplay cuts down the time spent in Northern France, the length of which in the original is arguably the book's weakest point. A final contemporary sequence sees an older Briony (Vanessa Redgrave), now a successful writer, reflecting on her childish actions.

This is stimulating, engrossing stuff which requires concentration and Wright doesn't put a foot wrong. He creates a sumptuous look and feel for the film's varied locales (largely aided by Seamus McGarvey's lavish cinematography and Dario Marinelli's pitch perfect score), and the use of clever editing and pacing all help to elevate it far above the norm.

Casting is also a triumph: James McAvoy shows why the hype surrounding him is justified with a charming turn as the unwilling victim, Keira Knightley enlivens what is really a supporting role as the object of Robbie's affection with a sublime mix of posh and beautiful unattainability and rising star Benedict Cumberbatch adds another impressive role to his growing list as the oleaginous millionaire. But it's Saoirse Ronan who is likely to be best remembered as the youngest incarnation of Briony. A triumph of British writing and production, Atonement is one of the strongest films of the year.

Paul Hurley