Meewella | Critic

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Tag: Sam Mendes

QuickView: Empire of Light (2022)

“It creates an illusion of motion. An illusion of life. Out there, they just see a beam of light. And nothing happens without light.”

Norman

Empire of Light has been marketed as Sam Mendes’ ode to cinema, and that can been seen in its setting — an ageing independent cinema on the English south coast — and the poetic lines about the medium intoned by Toby Jones as the fastidious projectionist. This is all set dressing, however, to a story that really focuses on the relationship between Michael Ward and Olivia Colman’s characters, unfolding amidst the racial unrest of the early 1980s. Unfortunately the characters are all written as one-note sketches — the entire cast works admirably with the material but even a titan like Colman can only do so much with the cliché of an emotionally unstable older woman enamoured with a younger man. This is Mendes’ first solo writing credit and it seems, at least for now, his writing cannot match his directorial skill. He is most effective in portraying racism in varied guises, both direct and insinuated. Empire of Light is all beautifully presented in the hands of veteran cinematographer Roger Deakins (who has now collaborated on around half of Mendes’ films) accompanied by a gently moving score from Trent Reznor and Atticus Ross. With so much talent involved, it seems harsh to judge the film based significantly on the script alone, but this kind of quiet, emotional picture is ultimately dependent on quality writing. My impression from the trailer was that Mendes was looking to emulate Cinema Paradiso and I feared he might engage in too much navel-gazing about the importance of cinema. In truth, I could have done with more.

6/10

QuickView: 1917 (2019)

1917 poster

“They’re walking into a trap. Your orders are to deliver a message calling off tomorrow morning’s attack. If you fail, it will be a massacre.”

General Erinmore

An unconventional approach to a war movie, 1917 follows two young soldiers in near realtime as they journey across no man’s land and through enemy territory to deliver a vital message. Sam Mendes’ directorial conceit is a faux unbroken continuous shot, like Birdman but serving greater narrative purpose here. The first half hour is intentionally slow, swiftly setting up the plot but allowing us time to understand the two soldiers through simple conversation that reveals one as fresh and idealistic, the other as disillusioned by his experience of combat. The isolation punctuated by limited combat is reminiscent of Enemy at the Gates at least in atmosphere. Roger Deakins’ cinematography keeps the camera moving around the actors through long takes (although nothing so densely choreographed as Atonement‘s Dunkirk sequence), creating a real sense of space and often acting almost as an additional character through whom the audience observes. The grim depiction of corpse-littered battlefields — and the men’s ambivalence to such sights — leave no pretence at glorification of war. However, 1917 is still beautifully shot, particularly the stunning lighting in its night time sequences. Recognisable actors play only brief roles as commanding officers; the rank and file are a sea of unfamiliar faces, aiding the immersion. It is ultimately George MacKay who carries the film, desperation and weariness etched into his face.

9/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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