― Ian McEwan, Atonement
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come back, come back to me
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Non ha importanza se un amore dura per sempre o meno. Ciò che conta è che esista.
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In fact, as I get older, I begin to feel that actually what we need more in the world is doubt; more skepticism, less crazed certainty... People who know the answer and are going to impose it on everybody else, I think, are terrifying people.
Ian McEwan
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"Perhaps the greatest reading pleasure has an element of self-annihilation. To be so engrossed that you barely know you exist."
— Ian McEwan.
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I just finished rereading Atonement for the first time in 13 years. I've been calling it my favourite book and my favourite movie this whole time, and since I've been reading a lot more lately, I wanted to revisit and see if it's still the case. But it was kind of impossible to read without picturing the film the entire time.
Because for all the film adaptations of books that fail to capture or translate their story properly, Atonement is right there. Not only a perfectly faithful adaptation of the themes and events in the book, but actually one that elevates them.
An aesthetically sublime film in its own right... The score. The costumes. The scenery. The frenetic editing. The emotions. You can feel the heat of the summer day. Feel the chaos at Dunkirk. It's genuinely an artistic achievement. And it's one that stuck so incredibly close to its source material.
Yet there's one small change in particular that stands out to me because it's better than the book. And it's so small, but it is EVERYTHING.
When Briony comes to tell her sister that she's changing her testimony after all these years and Robbie yells at her for telling the lies that condemned him, in the book he says "and when I was inside (prison) did it give you pleasure?"
In the film, James McAvoy delivers this line with the words switched ever so slightly "Tell me, did it give you pleasure to think of me inside?" and he lingers over the word pleasure in a way that eroticizes the whole concept, in a way that reminds Briony and the audience that all this happened because Briony had a little scorned crush on him at 13. And puts the emphasis back on her imagination, imagining him inside, since this whole story is about her imagination. It's just.. that one line hits so much harder, both in the way it was written and in the way James McAvoy delivers it.
It's crazy. So many book to screen adaptations that fail and fall short and do a disservice to their source material... and then there's Atonement.
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Cecilia's reason for life is Robbie, and so is Robbie with Cecilia.
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“Wasn't writing a kind of soaring, an achievable form of flight, of fancy, of the imagination?”
― Ian McEwan, Atonement.
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- Atonement, Ian McEwan
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― Ian McEwan, Atonement
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Briony Tallis is such an intriguing character to me, partly because she is so conflicting. I oscillate between being utterly disgusted with her, and kind of understanding where she was coming from. The very act of writing the novel and changing the end is somehow demonstrative of the fact that she’s grown up in more ways than one (in that she understands the crime she committed), and the way she manipulates the ending of Robbie and Cecilia’s love story (in that she’s still the little girl who wrote The Trials of Arabella). She enjoys control. She likes being in charge, and the power she wields to be able to manipulate the characters in her stories like puppets. She doesn’t like things happening of their own accord, things that are beyond her control – this is evident from the way she wants to direct the play and snaps at Lola for turning her plans topsy-turvy. “If you’re going to be Arabella, I’ll be the director, thank you very much.”
The events of the book were set in motion because of her fancy, because she wanted to turn real life into a story, because she wanted to be the hero and the protagonist of the tale she was telling. Sometimes I think she has a bit of a God complex. There’s so much of her to unpack, more than any other character in the book. She knows everything that happened is all her fault. So by giving Robbie and Cecilia the happy ending they never got to have, she’s apologising in the only way she knows how. She’s well aware that nothing she does can ever make up for the cruelty of how Robbie and Cecilia’s love was thwarted. Atonement begins and ends as a story – her story, and her.
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Happy 75th, Ian McEwan.
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"E in tutto quel piangere, quel credere di chiamare a gran voce qualcuno, una sola cosa riusciva a pensare: che non aveva un posto dove andare, non poteva riconoscersi in un momento qualunque, non era atteso, non disponeva di una destinazione nello spazio come nel tempo; mentre avanzava con tanta furia restava fermo, seguitando a schiantarsi sempre intorno allo stesso punto."
Ian McEwan - Bambini nel tempo
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