SSFF 2022 | MOVIE REVIEW: "Empire of Light"; The Community In Storytelling
10/12 ForReel Score | 4/5
Going into Empire of Light, I knew next to nothing about the film other than it being written and directed by Sam Mendes (Skyfall, 1917). I thoroughly enjoyed the film and was surprised to hear so many negative reviews after leaving the theater. Most patrons perceived the narrative to be sporadic, felt that the relationships were forced, and thought it had nothing to do with the appreciation of film other than being predominantly set in a movie theater. Although I agree with certain points about the plot, I think that having no expectations allowed me to see the truth of the film more clearly. As the title suggests, Empire of Light is not about the process of filmmaking itself, but about the sense of immersion you feel at the cinema and how the love of storytelling knows no barriers.
Set in an English seaside town during the 1980s, we follow Hilary, the Empire Cinema manager played by Olivia Colman (The Favourite), after she experienced what is implied to be a manic episode. She is in a state of deep numbness, quietly serving popcorn, tearing tickets, and even having an affair with her boss, whom she feels totally apathetic toward. Things change rapidly after Stephen (Micheal Ward, Top Boy) joins the cinema. Their shared sense of feeling like outsiders results in a strong bond between the two.
On the surface their pairing seems quite odd, but together they find true tenderness. Hilary believes that her mental illness, combined with her age makes her unworthy of affection. On the other hand, Stephen has become a target of everyday harassment and racism during the rise of the National Front and other white power movements. While most of their relationship hinges on secrecy and physical connection, it is in these quiet moments they are able to see past each other's insecurities, teaching one another to find the poetry in the mundane and overlook fear in favor of experience.
If there was one expectation I did have of Empire of Light, it’s that Coleman should offer a fantastic performance, which she in fact does impeccably. She performs with such authenticity that you cannot help but become absorbed in her performance. At times, she suggests darkness and trauma - almost casually - under her friendly exterior, so as her mental health deteriorates, it’s heartbreaking to witness. About halfway through the film, Hilary delivers a speech that is utterly uncomfortable, and it is crushing to see her embarrass herself in such a way. Even as she becomes enraged, Colman finds humanity in it. Her level of engagement is always just right: not too erratic, not too detached, always on top of everything.
The most surprising performance was that of Michael Ward. Before the screening, I had the pleasure of interviewing him on the red carpet and he was so modest about being able to work with Mendes and alongside Coleman. It was clear that he was very passionate about his work, but also very appreciative of the opportunity. Having no idea what to expect from his performance, I was delighted to see him be so delicate and sincere. He has great chemistry with Colemon that holds validity. To the point of patrons I spoke with after the film, some of his character needed to be fleshed out more, but Ward’s performance makes up for the script's inconveniences. Normally, I am not one to speak about awards and nominations, but his screen presence just blew me away and merits recognition.
What truly makes Empire of Light so captivating, however, are the visuals by cinematographer Roger Deakins (1917) and score by Trent Reznor and Atticus Ross (Gone Girl). From the opening scenes, as the lights in the theater turn on and the score builds, we are taken into what feels like a mystical world. It is no wonder Deakins is considered one of the best contemporary cinematographers as he displays such beauty. Every frame is like a painting, shot with such precision and artistry. There is a scene in which Hilary finally sits down to watch a movie, and I was moved to tears by the Deakins’ presentation of it. Accompanied by Reznor and Ross, the film hits every emotional beat with a level of technicality that is undoubtable.
Empire of Light is a celebration of art, a story about mental illness, a tale of finding romance in unexpected places, and a social commentary. Do I find it all a tad bloated? Yes I do, but I don’t think it warrants the negativity it's receiving. Mendes had a lot to say with the film, and for the most part, I found it to be a successful and worthwhile production. I especially appreciated the film's love letter to cinema in an excellent speech about how 24 frames-per-second running images create the illusion of motion, which can be heard in the trailer. From the time I was a child, I enjoyed retreating into the cinema to escape my troubles. By the time the credits rolled, I always felt cleansed of any stress I had going in. When watching Empire of Light, I was reminded of that.
Acting and Casting - 2 | Visual Effects and Editing - 1 | Story and Message - 1 | Entertainment Value - 2 | Music Score and Soundtrack - 2 | Reviewer's Preference - 2 | What does this mean?