Cinematography

Welcome back to the Connections blog, and to our examination the adaptation of Ian McEwan's best-selling novel, Atonement. In this entry, we will take a look at the aspects of cinematography which are used in the film, and how these methods, and the shots themselves, contribute to the successful adaptation of the novel to film. Cinematography is one of the most crucial aspects of a film, because it contributes greatly to the general "feel" of the film. It is also so important, because it provides a foundation for editors and other members of the production crew.

With its beautiful costumes and amazingly-detailed sets, Atonement is definitely very visually appealing. However, the quality of the cinematography in this film, trumps any of the other aspects of production in my mind. With the wide range of settings and time periods for this film, it is amazing to consider how natural and elegant the filming seems. Capturing the mood of a wealthy 1930s household, cinematographer Seamus McGarvey’s first task was to convey the sweltering heat, which he apparently did, through the resourceful use of  stockings over the lenses. 


Panning shots of Briony walking around the house, as well as wide shots of the two sisters lying in the grass, are among the best in the film in my opinion. This is because they’re simple yet extremely beautiful. McGarvey manages to capture the beauty of Atonement in the grittier and harsher scenes of war, which included scenes of a bomber in flight reflected on the surface of a water reservoir. Of course, there’s also the infamous Dunkirk scene, which despite only taking two takes, took several months of planning and choreography. 

In my opinion, the scene at the beaches of Dunkirk is one of the most moving in the film, and it is probably the best technical aspect. The massive scale which Wright and his crew were responsible for is almost unthinkable, and the coordination of so many aspects of the scene must have been a great challenge. The almost five-minute scene is perhaps so remarkable because it is shot continuously, and uses what seems like an effortless tracking motion across the beach. The goal for Wright and McGarvey was to ensure that as much as possible, the viewer does not become disconnected from the action due to traditional methods of editing into multiple shots. They hoped that instead the scene would allow the viewer to see not only the massive scale of the operation, but also the individual soldiers for what they truly are; living and breathing human beings, with aspirations and dreams, just like you and me. 


Under the direction of Joe Wright, McGarvey truly embraces McEwan's story and overcomes the non-linear structure of the plot in a unique way. The sweeping and graceful camera techniques are very impressive and  lend themselves to the story of Atonement. The bright, beautiful and carefree nature of the shots in the earlier parts of the film, does well to mirror the innocent and simple nature of the plot. Later in the film we see that the filming also mirrors the metered pace of the scenes of war. The quality of the cinematography is just as important as the quality of the acting, if not more. So with that being said, it is very encouraging to note the amount of pure skill and effort which went into the filming of this production. From beginning to end, it is clear that Joe Wright has an amazing vision for Atonement, which is not a great deal different from McEwan's. 

Wright understands the serious nature of the plot, especially the terrors of war, and does well to drive these moments home for the viewer. That being said however, he also very eloquently displays the soft and warm feelings of love and lust, and the very abstract examples of childhood innocence. The adaptation of McEwan's novel to film, could not have been successful without the attention to detail and innovation which is used in filming of this production. Again, thanks to the dedication of Wright and his team to not only McEwan's vision, but even to the characters themselves, the viewer of the film is able to truly capture the thoughts, emotions and struggles of each character. 


More Connections: 

• A collection of the film's most cinematic shots
• Clip of the scene at Dunkirk 
• Background article on the tracking shot at Dunkirk 
• Interview with Atonement's Cinematographer: Seamus McGarvey