film and the use of designs motifs and symbols

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Paul Wright’s 3 years ago Atonement starts with a shot of the home of Briony ou al. in miniature – a replica from the mansion house where the key characters live and work in England, 1935. The taken pulls again as the keys of the typewriter are heard clacking away (prior to this, the clacks overlap with the presence of the text message on-screen saying both title and environment of the film – plus the shift via non-diegetic to diegetic appear is the initially many surprises in this intelligently crafted period piece by Wright). Wright’s command of the material is really as impressive as his operate Pride and Prejudice and as mesmerizing since it would later on be in Anna Karenina. Right here, the whole of the film, which is “a story regarding storytelling” (Santas, Wilson, Colavito, Baker 60), is foreshadowed in one refined pull-back because the camera, focused squarely on the miniature doll-house reproduction of the homestead backs up to expose a brand of animal play toys, walking in line in a row away from the home towards a lot of ark-like target off-screen: yet – since the camera pans – and here is yet another reveal – the “ark” is 12-year-old Briony, whose key tapping is the source of the clackety-clack, and who embodies in her very own efforts as a young playwright the maintenance of life, just as Noah did with his building with the ark (symbolic references like this are fallen like refined clues, effecting a delightful and intelligent charm for film-goers yearning to get a more mature, thematic and fictional approach to cinema). The effort is definitely not squandered here plus the effect is one of the most simple yet engaging hints as to who Briony is and what she will become: her life-long act as an author (which will function as the material of Atonement) will be her attempt to maintain or “save” what your woman herself in her idiotic innocence and cruelty was half-guilty of destroying.

The film is usually thus centered on Briony, who will be an deeply creative and curious young lady in 1935 (with a flair for the dramatic). Her interest is found by Robbie, the kid of a worker on the estate; Robbie is within love with Cecilia (played deftly by Keira Knightley); and it is the fountain one afternoon that their appreciate (displayed antagonistically at first) literally spring suspensions forth after Cecilia outdoor sheds (the the greater part of) her clothes to retrieve a broken part of pottery that has fallen in to the fountain. Her (innocent? ) strip tease (and Robbie’s courteous/embarrassed/yet-obviously-attracted deference (Robbie is played with each of the charm, charisma, conflict and pent up disappointment typical of a James McAvoy character) happen to be enough to fuel the library lovemaking that will occur minutes afterwards in the film (after a “joke” sensual letter accidentally gets brought to Cecilia plus the “tease” can be reversed, leading to an obvious eruption of desire on her component as well). In short, both fall in like and ideal before the amazed eyes of Briony who have happens to find both the water feature scene and after this the library one. She actually is hurt and confused – and later when questions about a rape occur, Briony fingertips Robbie as an work of payback. Robbie can be innocent, naturally , but off he would go to prison – for four years.

The seemingly easy way in which Wright manages this course of remarkable events is usually remarkable: and the use of water, both as a thematic component and a symbolic theme (water can be purifying – it flushes away the sins – and crushing), plays a vital part. As Philip Travers claims, “Atonement sweeps you on waves of humor, heartbreak and ravishing romance” – and “waves” is right. Even Roger Ebert notes which the “scenes include floated effortlessly” and portion of the reason it appears that way is usually Wright’s use of water as a motif. Drinking water is the aspect which is crucial in the change of the romance between Cecilia and Robbie at the water feature: without that, the lusty eruption between two would have most likely continued to simmer just below the area. But because Cecilia makes bold to consider a dip, she goes in as one person and comes out because quite one other – ahead of, a relatively cruel and teasing maiden; after, a great alive young woman awakened by the awareness of flesh-and-blood desire and the evident effect she gets on the

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