Based on Ian McEwan’s equally stirring novel we begin the story in 1935 on the cusp of WWII. Briony Tallis (Saoirse Ronan) a 13-year-old fledgling writer lives with her wealthy family in their enormous English country mansion and on one hot summer day she irrevocably changes the course of three lives including her own. It seems the housekeeper’s son Robbie Turner (James McAvoy) carries a torch for Briony’s older sister Cecilia (Keira Knightley). And on this warm day it becomes clear she feels the same way; their love ignites. Little Briony who harbors her own secret crush on Robbie witnesses the beginnings of this love affair and not understanding its meaning feels compelled to interfere going so far as accusing Robbie of a crime he did not commit. He is arrested and whisked away eventually forced into the British army but thankfully the two lovers have a moment before he goes to war to reconnect. Cecilia promises to wait for him urging him to “come back” to her once the madness he is about to become immersed in is over. Meanwhile Briony (played in adult years by Romola Garai and Vanessa Redgrave) has grown up regretting every single moment of that fateful day and in desperately trying to seek forgiveness finally finds a path to understanding the power of enduring love. The performances in Atonement are nothing less than captivating beginning with the young Irish rose Saoirse Ronan (who is also set to play the lead in Peter Jackson’s The Lovely Bones). Since it is primarily Briony’s story Ronan must make the first most indelible impression and set the tone for the rest of the movie--and she succeeds on every level. From the moment you see Ronan’s pale face clear-blue eyes and steadfast gait you immediately recognize Briony’s need and determination to make everything in her life just so. Indeed Briony is a strongly focused child and Ronan so embodies the character an Oscar nomination is almost a certainty. As the 18-year-old Briony Garai (Dirty Dancing 2) does the best she can following such a tough act as Ronan but can never quite match the same intensity. On the other hand Redgrave who comes in at the very end as the much older Briony nails it right away adding her own nuances to a character who has lived a full life. Of course Knightley and McAvoy are no slouches either vividly capturing the passion bubbling up between Cecilia and Robbie then turning around and showing the heartache as their love is ripped apart. McAvoy is particularly effecting as his Robbie must also witness some truly horrific wartime scenes. Actually Oscar nods should come fast and furious for everyone in Atonement. With Pride & Prejudice and now Atonement director Joe Wright may have just established himself as the new James Ivory (of Merchant/Ivory fame). Wright is a real visionary for the romantic period piece expertly delivering truly spectacular vistas. From set design to costumes to cinematography the look of Atonement is at once verdant welcoming and then startlingly grim. The first half of Atonement at the Tallis’ country home is certainly the film’s most defining peppered by an effective musical score which uses the sound of a typewriter like a metronome. Through a soft lens Wright displays the general idleness of summer day at a country home like a sunny floral motif that belies an undercurrent of sweating bodies wilting flowers stagnant pools--and an imminent tragic event. Then once Wright moves with Robbie into WWII he actually paints an even more grim view of war then maybe seen before. The one continuous shot of the historical Dunkirk--a French beach on which thousands of British soldiers were forced by the Germans and then waited to be evacuated--is absolutely stunning and surreal. Atonement does drag ever-so-slightly in the middle especially as Briony trains to be a nurse in London but overall this is a film Academy voters eat up with a silver spoon. Expect to be hearing about it in the months to come.
Jazz lovers have lost one of their true pioneering spirits.
Lionel Hampton, a vibraphone virtuoso, died Saturday of heart failure at the New York's Mount Sinai Medical Center. He was 94.
Over his six-decade career, Hampton, who infused his music with boundless energy and a trademark smile, played with a variety of jazz greats including Louis Armstrong, Charlie Parker and Quincy Jones. In the 1930s, however, when Hampton joined the Benny Goodman Quartet, the "King of Vibes" made a name for himself as one of the first black men to break the race barrier that had kept black and white musicians from performing together in public.
Hampton went on to become an accomplished band leader in his own right, helping to foster other jazz musicians such as Charlie Mingus, Dexter Gordon, Fats Navarro, Joe Williams and Dinah Washington. He traveled the world with his band as a musical ambassador of the United States.
"He was really a towering jazz figure," saxophonist Sonny Rollins, who played with Hampton in the 1950s, told the Associated Press. "He really personified the spirit of jazz because he had so much joy about his playing."
AP reports Jones, the Grammy-winning producer and composer who was just 15 when he first played trumpet with Hampton, said in a statement that the jazz great was a mentor for more than 50 years.
"He taught me how to groove and how to laugh and how to hang and how to live like a man," Jones said. "Heaven will definitely be feeling some backbeat now."
Hampton had also performed at the White House for eight presidents, including Truman, Eisenhower, Johnson, Nixon, Carter, Reagan, Bush and Clinton. Rep. Charlie Rangel, D-N.Y, told AP he remembers when Hampton played at the White House on his 90th birthday, inviting President Clinton to grab his saxophone and jam with them on stage.
"Lionel was a spectacular guy," said Rangel.
Married for 35 years, he lost his wife, Gladys, in 1971. The couple had no children. Funeral arrangements have yet to be announced.