I watched Empire of Light and I didn’t like it. 2.5/5
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Directed by the acclaimed Sam Mendes and co-written with his wife, Krysty Wilson-Cairns, “Empire of Light” (2022) is a British romantic drama that unfolds against the backdrop of a fading seaside cinema in the early 1980s. With Olivia Colman taking on the role of Hilary Small, the duty manager grappling with her own mental health, and Micheal Ward as Stephen Bailey, the new employee whose arrival sparks a transformative romance, the film navigates themes of love, racial tensions, and mental health struggles.
The film is a visual masterpiece, thanks to the extraordinary work of cinematographer Roger Deakins. Deakins, a longtime collaborator with Mendes, paints a vivid portrait of the era, capturing the essence of the early ’80s seaside town. The juxtaposition of vibrant coastal blues and greens with the faded hues of the cinema and town imparts a mesmerizing visual contrast that enriches the narrative.
Performances in “Empire of Light” are nothing short of exceptional. Olivia Colman delivers a tour de force performance as Hilary, seamlessly embodying the strength and vulnerability of her character. Her portrayal resonates with authenticity, adding a layer of depth to the film. Micheal Ward, portraying Stephen, brings an effortless charm and resilience to his character, establishing a palpable chemistry with Colman.
One of the film’s most notable strengths lies in its fearless exploration of mental health and racial tensions. It confronts the challenges faced by those dealing with mental health issues head-on, shedding light on how these struggles permeate relationships and lives. Additionally, the film addresses the racial tensions prevalent in England during that period, offering a poignant reflection on the racial dynamics of the time.
However, the film is not without its challenges. The pacing, at times, feels deliberate, elongating the runtime beyond what some viewers may find engaging. While the lingering shots are undeniably breathtaking, they may test the patience of those seeking a swifter narrative progression.
Furthermore, the film occasionally veers into melodramatic territory, marked by clichéd dialogue and improbable coincidences. This can detract from the authenticity of the storytelling, creating moments that feel contrived.
In summary, “Empire of Light” is a meticulously crafted film with stellar performances and visually arresting cinematography. However, its deliberate pacing and occasional foray into melodrama may present hurdles for some viewers.