‘Empire of Light’ Telluride Review: Olivia Colman Touches Movie Theaters with Incandescent Ode in Sam Mendes

Along with other directors of recent years such as Alfonso Cuarón Romewith Paulo Sorrentino Hand of God And with Kenneth Branagh Belfast, Sam Mendes sets out to explore his own memories of his developmental years, but unlike these films, he doesn’t put his younger self at the center of the story, instead makes He demonstrated his experience of watching movies in theaters. But make no mistake, it’s been decided No emotional with love heaven cinema Rather, it is, at least in part, a Valentine’s Day gift to a world of escalating racial tensions and conflicts, a place to escape the harsh realities of life, if only for a few hours.

Mendes says he’s been grappling with the idea of ​​making such a personal project for a while, even considering an autobiographical film at one point, but the pandemic gave him time to think and the idea came up. setting and then where you can go from there. It’s surprising that despite being created nearly 40 years ago, it remains so universally relevant today. Mendes, an admired film and stage director, also has a deep love for the palaces whose works we see on stage or in the cinema, and this film is a love intent for them at that level, but in a different way. . Our Way was also conceived during quarantine, when Méndez wondered if we would ever see the inside of the theater again, we are still trying to escape a dangerous moment. Movies like this will help you get the job done.

The action mainly takes place in the late 1979 and early 1980s. empire of light It refers to a large seaside movie palace in England called Empire, which was once a much more prosperous restaurant and entertainment centre, but has now been reduced to two screens showing movies of the time. All this jazz, elephant man, 9 to 5 and more. But make no mistake, it’s been decided No emotional with love heaven cinema Rather, a film that truly showcases a movie set in a time of heightened racial tensions and strife is a place to escape, if only for a few hours, the harsh realities of life. The world outside these doors is scary, but the world inside is magical, at least that’s what Méndez remembers.

While it’s a ludicrous rivalry with the owner, the focus of this original screenplay by Mendes (his first solo screenplay) is the staff, particularly his longtime assistant manager Hilary Small (Olivia Colman) and the new hire. named Steven (Michael Ward), a young black man who bought a ticket. It’s clear from the start that Hilary is an unhappy woman minding her own business, but frankly, it’s a past we eventually discover as she suffers from mental issues and manic episodes. He fulfills his daily duties with almost aplom as a result of the recent setback in his life, but is also taken advantage of by the empire’s ruler, Mr. Ellis, a married man in his office who asks him for sexual favors. He’s at a stalemate, but surrenders to the dark side of things to move on.

By showing Steven the ropes without being too enthusiastic about the task (you can tell he’s done this exercise many times), he convinces him to look at the now closed and dilapidated part of the theater and restaurant upstairs, which was closed. There, pigeons fly in and out of broken windows, but one is injured. Stephen saves her, and this lightens Hilary’s mood. This marks the beginning of a beautiful friendship that even leads to Hilary’s impulsive kiss as she watches the fireworks from the roof of the Empire on New Year’s Eve. This develops into the romance they’ve been hiding from their co-workers, but a day trip to the beach begins to reveal more serious problems for Hilary. As the drama progresses, Mendes weaves real-world themes into the story, including mental health, racism, political issues, and the many struggles of the time, including the Brixton and Toxtet riots, the effects of Margaret Thatcher, the skinheads of violence (scene). Breaking Through the Empire’s Gates is an eerie reminder of 6 (January) and other forays into a world where cinema seems to be caught in a crossfire of change.

Mendes openly demonstrates her love of movies and the impact movies have had on her, but she’s not afraid to go to disturbing places, including the sudden change in the fragile Hilary’s personality and race, using the sacred place we want to escape to. He attacks Steven, who has a sudden mood swing. Mendes is such a talented director that he manages to direct these personal tragedies without letting the film take over. It all comes together in such a satisfying yet completely convincing way, empire of light He holds us for two hours. Much of the praise for this goes to the impressive performance of Colman, an actor who can instantly convey more facial expressions with a single expression than would be possible in 120 pages of dialogue (expect less?). A character that requires someone with Colman’s skill and range, and few I can think of who can handle his emotional twists as best they can. This is a great challenge where you will face the power of a big star. Mendes wrote this in his own opinion. neighborhood relative newcomer (Little Ax Lovers Rock) It delivers every aspect of the breakout role it takes on with superior style. We believe in both, we suffer for them and we encourage them. There is no wrong note from either of the two actors in the relationship where they both shine a light on each other.

Among the supporting cast, Firth’s always reliable and watchable gruesome boss isn’t full of dimensions, but he gives us exactly what it takes to hate the guy. On the other hand, we really like Toby Jones as Norman, a machinist who treats his job at the booth like an artist. These scenes, especially those near the end, where Hillary begs her to show the movie, no The film is priceless and is a true love letter to the projects of the past years. film. Jones also has a key line in the movie that works on multiple levels, as he shows Steven how to turn on the projector: “Without the light, you have nothing.” Other highlights include Tom Brook and Hannah Onslow as quirky yet attractive co-workers, and Tanya Moody as Stephen’s protective but loving mother.

Will work with the Oscar winner again. 1917 Cinematographer Roger Deakins, the look and style of the film is beautiful, Empire is shot with the tender loving care of a master. Production designer Mark Tyldesley received a huge round of applause for taking a long-abandoned theater in Margate on Kent’s south coast and putting it back where it belongs. half victory Days of posters and popcorn. The score is excellent and comes from a great selection of soundtracks from The Specials and The Beat, along with two-time Oscar winners Trent Reznor and Atticus Ross.

Produced by Mendes and Pippa Harris. The projector will start Theaters – Thank God – in December. movie and cinema Lovers shouldn’t miss it.