Atonement

Within minutes of starting Atonement, I had transcended time and gender and stepped into Briony Tallis’ skin. I knew her: her vanity, modesty, self-absorption, idealism. I felt her intoxication, the acuteness of her need. I was in thrall. This clearly was outstanding fiction.

But then, while surfacing for a breath, I made the mistake of reading the blurb on the back cover. The blurb hinted at a sad story. It talked about “Robbie and Cecilia will have crossed a boundary they had not even imagined at its start. Briony will have…committed a crime for which she will spend the rest of her life trying to atone”.

My credit-crunch wearied soul had no appetite for more sadness. For instance, I have no intention of reading A Thousand Splendid Suns, however well it is written. So I put Atonement down and moved on to the (mediocre) consolations of Eragon.

Fortunately, Atonement remained in the stack of books on my bedside table. I picked it up again, and on this second go, I couldn’t put it down. And, best of all, it is not a sad story. I just finished the last chapter, and I was standing on my chair and cheering as I read the words

Here’s the beginning of love at the end of our travail
So farewell,kind friends, as into the sunset we sail.

Or more accurately, despite finishing the last chapter on a transatlantic flight, my spirit was standing and cheering.

I haven’t seen the movie. I know Keira Knightly is in the film, and she could only play Cecilia. I let myself imagine Keira’s face on Cecilia, and that worked fine. Good casting.

But how would this book work on film? The tension in the book is between reality, and another reality that might have been. In a book, that alternative reality can be hinted at, and the imagination will do the rest. In a movie, the imagination does not have the time to conjure up an alternative reality. Mind-states, or streams of consciousness, which are created so precisely in this book, rarely communicate on screen. Recreating a period only goes so far. Where will the narrative tension that drives the film forward come from?

I believe the film is good. Looking forward to it…

BTW…being in thrall, being immersed in a complete world which is known only through the imagination, has got to be the greatest joy, the most important purpose, of fiction. Film doesn’t work that way. Film works by saturating the senses, not by engaging the imagination.

For the exception which proves that rule, watch Picnic at Hanging Rock. Its probably the most gripping suspense film I've seen; first watched as a teenager in Madras, back when a late night English film on Doordarshan was a rare treat.