Empire of Light
A love story set in and around an old cinema on the South Coast of England in the 1980s.
- Released: 2022-11-12
- Runtime: 115 minutes
- Genre: Drama, Romance
- Stars: Olivia Colman, Colin Firth, Tanya Moodie, Hannah Onslow, Crystal Clarke, Sara Stewart, Adrian McLoughlin, Spike Leighton, Ashleigh Reynolds, Mark Goldthorp, Dylan Blore, Eliza Glock, Tim Samuels, Jamie Whitlow, Dougie Boyall, D.J. Bailey, George Whitehead
- Director: Sam Mendes
Comments
- ian_bolton - 31 January 2024
Beautifully poignant and powerful
I could've watched this film all night. The characters were utterly engrossing, Olivia Colman and Michael Ward particularly brought so much to the screen - alongside Roger Deakin's wonderful cinematography - this film danced through so many touching subjects.
One comment I saw on here suggested it was a struggle trying to understand what this film was trying to be about, yet it was about all the struggles, projections and societal problems you would expect from the 80s. Racial abuse, EDL marches, sexist mentalities and insecurity. It had everything. I thought every character had their own deeply ingrained problems that are there for us all to see. All set through the lens of a beautiful coastal cinema. I was crying my eyes out by the end.
Olivia Colman shows uniquely just how women were scrutinised and often abused by men trying to hang on to their power - being called 'crazy' when in fact they were far more in touch with their human intuition than they could have ever imagined. This isn't a film about one particular subject, it's about the struggles of an era where people were so divided and it gave me hope that the human spirit will always find love and empathy no matter what the wider circumstances are. - MrDHWong - 24 August 2023
A relatively ho hum story of a doomed relationship enhanced by some intermittent flashes of skillful creativity
"Empire of Light" is a drama film written and directed by Sam Mendes ("American Beauty", "Road To Perdition", "Skyfall", "1917"). Starring Olivia Colman, Micheal Ward, and Colin Firth, it tells a relatively ho hum story of a doomed relationship enhanced by some intermittent flashes of skillful creativity.
In the early 1980s in Kent, England, Hilary Small (Olivia Colman) works in a managerial position at the local Empire Cinema. In her personal life, Hilary lives by herself and deals with problematic mental health issues, all while sexually servicing her married boss Donald Ellis (Colin Firth) in order to keep her job. One day, a young Trinidadian man named Stephen Murray (Micheal Ward) begins working at the cinema and Hilary becomes infatuated with this new employee. Over time, Hilary and Stephen grow closer to each other, culminating in a sexual relationship after she impulsively kisses him on New Year's Eve.
For over twenty years now, director Sam Mendes has delivered some of the most interesting movies to be helmed by an English filmmaker, especially considering most of them are predominantly American-focused stories. His debut film "American Beauty" was a clever satire of 90s suburban America and "Jarhead" offered a unique look at life during the first Gulf War from the Marines' perspective. Since the 2010s, Mendes appears to be returning to his English roots with his two James Bond films "Skyfall" and "Spectre" achieving great success at the box office, as well as his long-take heavy World War I film "1917". In Mendes's latest film "Empire of Light", we see what appears to be an examination of human interaction during difficult times, with inconsistent plotting and subpar character development.
Although I do appreciate the film for trying to show a different side to human loneliness, at no point did I ever feel fully invested in anything that was happening to the characters and the events surrounding them. The film's lead character, Hilary, is shown to be suffering from bipolar disorder, affecting her ability to connect with others on an intimate level. Hilary's attempts at growing closer to people are mitigated by her violent mood swings and unpredictable behaviour towards anyone unlucky enough to be nearby. The only thing that comes close to intimacy for her is when her boss calls her into his office for sex. In any other case, it would be easy to feel sorry for somebody like Hilary, but I think she instead comes across more as pitiful than tragic. This is because we don't really learn enough about Hilary's backstory to properly empathise with her. As far as we're told, she's simply a strange woman whose mental disorder annoys people to the point where she is avoided by everyone other than her co-workers. I would have liked to have known why Hilary's fellow workers have put up with her oddities for so long, but the film never properly explores this.
With Stephen's character, we see that he is often bullied by local white supremacist gangs due to his ethnicity. This causes Hilary to feel sympathy for him but she cannot bring herself to stop the gang members out of fear they will attack her as well. Later, we watch as Stephen confides in Hilary about all his racist taunting, which leads to the two growing closer as a result. Though I did like that the film showed a believable way for the pair to spend time together, it is not handled as well as it could be. These scenes simply come across as a means to set up for some kind of obvious plot device involving the two of them being driven apart due to the discrepancies in age and nationality. Worse still, Hilary's story doesn't properly blend into Stephen's story, with the latter's not lending itself to enough emotional weight for a satisfying conclusion. It's a shame because there was a lot of potential to show a more in-depth look at Hilary and Stephen's relationship beyond the fact that they are physically attracted to one another, however, the film takes the simple route of driving the two apart merely for the purpose of the plot instead of more realistic circumstances.
As far as the visual style goes, it is one film's saving graces. Thanks to some clever use of lighting by Sam Mendes and cinematography by the legendary Roger Deakins, there are a handful of some truly impressive shots that are sure to leave a lasting impression on the viewer regardless of the film's narrative. One particular shot I really loved was where both Hilary and Stephen are standing on the roof of the cinema admiring the New Year's fireworks over the ocean. The way in which Deakins frames this shot gives it an almost watercolour-like feel, as though the audience is viewing this scene through the slightly tipsy point of view of the two characters. Perhaps the main reason I enjoyed that shot so much was because it was able to enhance the mood of this scene beyond the bland dialogue being spoken by Hilary and Stephen, which turned an otherwise mediocre moment into something special. Thankfully, there are other similar instances of this scattered throughout the movie, preventing the whole story from sinking without a trace.
It is also worth noting that the two main cast members each handle their roles reasonably well. Olivia Colman delivers a solid performance as Hilary, playing into all the traits of the characters' bipolar personality. Even though I would have preferred if the film had gone into more detail about Hilary's origins, Colman is able to bring out a level of intensity that in the hands of a lesser actress would have likely descended into cheap caricature. You definitely get the feeling that Colman is working hard to make Hilary as three-dimensional as possible, which isn't easy considering there are vital pieces missing from the plot that seem glanced over. If you are a fan of Colman's work, then this film is certainly worth watching just for her presence alone.
Newcomer Micheal Ward also handled himself well alongside Colman, with the pair's chemistry being one of the strongest aspects of the film. There's a certain innocence to Stephen's character and the feelings he harbours for Hilary, and I liked watching the two of them grow closer throughout the story. I just wish that the film's narrative was clearer in the way it was portraying their seemingly forbidden relationship, as it seems there were few other reasons for it not to work out aside from Hilary's mental state and the racist gang members targeting Stephen. With that said, I think the film could have been so much better had it placed more focus on the ups and downs of their close friendship rather than the typical romantic cliches.
When considering its overall potential, it's a shame to see a film like "Empire of Light" fall short of greatness in favour of being simply an "okay" experience. It never takes full advantage of its intriguing premise, and instead resorts to the usual romantic drama tropes we've all seen many times before. There's no denying the solid performances and some nicely shot cinematography elevate it above what could have been a total disaster, but there's hardly anything else worth mentioning that places it among Sam Mendes's best work. This is nothing more than a minor setback for the otherwise talented filmmaker, and I have faith he will bounce back better than ever next time.
I rate it 6.5/10. - kosmasp - 2 May 2023
Where light in darkness lies
No pun intended - and something you get in writing too. Or the writings on the wall - ok enough puns. And if you haven't seen the movie yet, you may be a bit confused (I reckon mission accomplished on my part). Kidding aside though and my confusion too - because while this is a love letter to movies and (the) cinema experience in general ... it is not in the way I expected it to be.
That all being said, it does start the way you may think it goes. A nice anecdote - behind the scenes or rather between the lines (movie schedule wise that is). But it is more than that - it sets the tone and it tells us so much about the main character. She looks fine (no pun intended) from the outside, but there is something dark inside her ... something that is able to "kill the mood" as they say.
Sam Mendes sets this in an era that seems to be gone. At least the way it is presented in his movie. Cinemas (or theatres if that's what you call them) have issues - even more so after the pandemic. Fortunately people do seem to come back and giving them a new life. There is nothing like watching something on the big screen. With others - who hopefully are decent enough and will not spoil the experience.
But there is more here - it is about the staff - it is about respect to the paying customer ... but also self respect. It is about mental health and racism ... in the UK by the way ... and while this is decades away, it is not as if all the issues have been resolved.
Being there - yes the movie uses puns too - is what this is about. Really being part of something - getting involved and really delve into a movie ... I have to admit, while I am happy for Everything everywhere all at once, I would have given the Oscar for best performance by a lead actress o Olivia here ... mesmerizing to say the least. And quite brave, because anything but easy to pull off ... there is blackness that the eye cannot see there too (well a last pun to end it all) - rdoyle29 - 6 January 2023
I liked it despite some serious flaws
Olivia Colman works at a rundown movie house in a seaside town in the early 80's. She has a history of mental illness and seems to be running on autopilot until new employee Micheal Ward sparks new life in her.
I really liked this film even though there are a lot of things about it that I don't think are very good. Sam Mendes' screenplay is ridiculously overstuffed with themes and ideas, many of which are not dealt with in any really satisfying way. Chief of which is what feels like it should be the film's main subject, the magic of film. Although the film does do a good job of evoking the experience of working in a movie theater, there's a recurring theme of the role movies play in life that really just isn't developed. Similarly, racism is raised as a plot point, but really just raised.
What the film really has going for it is great performances from Colman and Ward (and a really great turn from Colin Firth as their loathsome boss) and astonishing cinematography from Roger Deakins. Deakins' work in particular is gorgeous without being showy and is worth the price of admission alone. - dmansel - 16 December 2022
A Finely Crafted Film
Empire of Light, the fifth pairing between director Sam Mendes and legendary director of photography Roger Deakins, takes place in the 1980s focused on Hilary Small (Colman), lonely and drifting in life. Each day is a haze of grey as Hilary works her counter at the local movie theater Empire Cinema until she meets new employee Stephen (Ward). Gently coaxing her out of her shell, Hilary and Stephen form a strong bond that is consistently tested by both internal and external forces throughout the film.
As I opened my Green Knight review, I stated that expectations can be a tricky thing. They generally come in two forms: self-induced hype that usually leads to nothing but disappointment (i.e.: various shades of outrage over the lack of cameos in Doctor Strange in the Multiverse of Madness) and expectations brought upon by clever marketing of the film. The latter is the case with Empire of Light, Sam Mendes' latest film that reads as a veteran filmmaker being joined by one of the most respected cinematographers currently working to produce a wistful, aching love letter to cinema. While there are definitely shades of that at times, Mendes mostly uses his fictional Empire Cinema as a backdrop, a venue for that actual events of the film to transpire. The relationship established between Hilary and Stephen is equally pure and tainted; the intimate contact between an older Caucasian woman and a younger Jamaican man in 1980s England has a feel of taboo when set against the backdrop of a rising tide of British nationalism. With that danger constantly lurking at the fringes of the story, along with other unexpected events, the film is less Cinema Paradiso and more Revolutionary Road.
Starring Olivia Colman, Empire of Light reminds us yet again why she's one of the best actresses presently working in Hollywood. At the outset, Colman's portrayal of a universally lonely character idling through life is handled perfectly with her giving an incredibly internal and withdrawn performance, a church mouse amongst brash cats. In the film's turn into its unsettling second act Colman pulls a 180-degree turn, becoming almost feral, delivering her lines with a venomous ferocity. Hilary's sweetness in the film's final minutes shows that Colman runs an entire gamut of emotions throughout the movie's runtime, embodying a character that is deeply flawed and vulnerable.
The moment Michael Ward is on screen as Stephen the actor beings to exude and radiate charm. A brilliant, dazzling smile, a confident exterior and a true warmth shine from Ward as he seduces Hilary back to the land of the living throughout the first act. Stephen is not without his own vulnerable points as well, and Ward is excellent that showing Stephen work through these with the grace of a wily veteran. Ward and Colman are electric together, the pair finding an almost immediate chemistry together on screen that sets up for unfortunate events later down the road. Due in large part to Sam Mendes' writing and direction, Olivia Colman and Micheal Ward are one of the year's best on screen couples.
Written, directed, and produced by Sam Mendes, the veteran filmmaker returns with what could have been possibly one of his most saccharine stories to date. When he decides to focus the story on his love and passion for filmmaking is when the movie soars; thanks in large part to Roger Deakins' cinematography, Trent Reznor and Atticus Ross' amazing score, and Toby Jones selling his role as the theater projectionist, Empire of Light's highest highs show what the movie could have been had Mendes kept his focus on telling a story about an amazing theater and its occupant's love of the art form. Instead, Mendes cuts through these moments of sweetness with scenes of startling viciousness and brutality, making for jarring tonal shifts that are apt to catching viewers completely off guard. What starts as a heartfelt relationship and ode to cinema turns to passing glances at mental health and history of racism in England, making it feel like the story got away from Mendes and he was never fully able to regain control of it. If he had a statement to make with this project, its messages by film's end remain muddied.
Overall, Empire of Light is a finely crafted film that, while touching on a number of subjects, fails to fully explore any of them. Even with outstanding performances from Olivia Colman and Micheal Ward, the story's refusal to commit to any of its ideas overshadows the entire project. Somewhat lesser than the sum of its parts, the final product does not completely live up to its potential. There's still plenty to love in this story: top notch camera work by Roger Deakins and impressive technical work from Sam Mendes and his crew make this strong awards season contender. - aeris-422-443107 - 6 December 2022
Beautiful cinematography, nice attempted story themes - but without any commitment to any of them
Positives first: the cinematography is quite beautiful and enjoyable, as is the scoring. The performances are great and holding the movie together - the cast does a great job.
At the same time I struggled with figuring out what this film was trying to be about.
A woman in her midlife crisis? Mental health? Racism? A movie theater gradually falling from glory (or finding its way back)? Unusual relationships? Abuse? (At one point there is a conversation that caught me off guard) And then there are some additional nuggets casually thrown in for a moment, but without any weight or meaning.
All these themes have great potential to start important conversations, but you have to commit to one and explore it fully - instead, this movie touches on all of them and dances around them, throws in a bunch of sex scenes (some of which being rather unnecessary).
That being said, watching the cast was still quite enjoyable, so i still had a reasonably good time.
