Director: Sam Mendes
Writer: Sam Mendes
Stars: Olivia Colman, Micheal Ward, Colin Firth
Synopsis: A drama about the power of human connection during turbulent times, set in an English coastal town in the early 1980s.
Although Empire of Light tries to capture the magic of cinema (how it shapes and affects us) and the sparks of newly found love through the lavish frames of legendary cinematographer Roger Deakins, director Sam Mendes never gets a grasp on the other topics he wants to talk about (mental illness, racism, adultery). As a result, it is a plodding and dramatically disjointed picture that will have you heading for the exits before its second act arrives.
Whether you are a fan of his work or not, every three years (approximately), we get a new Sam Mendes film. Although some of his work consists of misses more than hits, at least in my opinion, one thing I admire about him is that he doesn’t stick to the same topics or stylistic tendencies. Even in his two ventures into the James Bond universe, with Skyfall being one of the best Bond films in the franchise’s long history, he changes the presentation of high-tension spy games we know and love.
For his latest feature, Sam Mendes decided to follow the current trend of delivering films that showcase the “effect” and “power” of cinema – an “ode” to movie theaters and their workers at a time when plenty of them are closing their doors for good, while intertwining other side-narratives into the mix, titled Empire of Light. Damien Chazelle and Steven Spielberg delivered films like these, recapturing the “power” and “impact” of different eras in movie history. And although I haven’t seen the former’s work yet , I felt that the latter was a bland and insipid attempt to do such a thing. Of course, the bigger picture of The Fabelmans was the divorce of young Steven’s parents, but it presented how cinema shaped his life, both in his artistic and personal life, in a lackluster way. It was a weird experience; Spielberg’s most personal and emotional film to date doesn’t have an emotional effect or awe-inspiring filmmaking. And just like most of the films that have followed that recent trend, Sam Mendes’ latest fails miserably, yet another piece of work by a gifted filmmaker that ultimately falls apart.
While Babylon covered silent films and The Fabelmans was attached to the late 50s and 60s, Empire of Light attaches itself to its 1980s London setting, a time of profound change and artistic movements. On the South Coast of England, there’s an old cinema with only two screens; it used to be four, but they had to close them down due to budgetary reasons. That local Empire chain is managed by a frustratingly one-note and charmless Colin Firth, who plays the cliched grumpy character – one of many times Sam Mendes uses these narrative comforts in the film. They show various fascinating pictures, from Bob Fosse’s All That Jazz to Terrence Malick’s Days of Heaven, but Hillary (Olivia Colman) doesn’t seem enthralled by that. Even though she has worked there for many years, Hillary hasn’t seen a single film the cinema has shown. Instead, she has a fake-happy smile on her face while attending to her daily duties at the Empire. Although she tries to hide it, you can notice it from afar. Things start to change upon the arrival of Stephen (Micheal Ward), who offers a glimmer of hope to the mundane life that Hillary is living.
The lonely pair spark up a relationship quickly (way too quickly), filling each other’s holes in their hearts. Everything that happens from this point on is seen from a mile away because of the nature of narrative conveniences. No surprise factors exist in this story about lost people amidst a world that’s shying away from them. From the classic screaming matches we see in dramas to the default story mechanism of mental health, we see Sam Mendes trying to engage the audience with several topics but, unfortunately, doing nothing with them. Some scenes capture Empire of Light’s central themes of race, individualism, bonds, and mental stability; yet they are ditched to the side repeatedly, scene to scene. It is frustrating because it arrives with a glimpse of hope, thanks to Roger Deakins’ elegant eye cinematography-wise. Still, the movie continues with empty-handed thematics and dramatic sensibilities. Not even the performances capture the tension of the topics, which is a rare feat as this is a film starring Olivia Colman. While Micheal Ward is charming, and I’m glad he’s finally getting bigger roles, it still doesn’t hide away the fact that Empire of Light is highly disjointed.
In-between that classic tale of a narrative, there’s a love letter to the impact cinema brings us all, all done poorly, rambling, and most important of all, aimless. There are scenes and posters of films showcased in the theater, which reminds you of better pictures you would rather watch because the one presented is dull. The Peter Sellers-led Being There is the primary one out of the bunch named and hinted at since that picture shows Hillary what cinema can do. However, that specific scene is reflected differently by the audience. That scene from Being There (which is a great movie, by the way) demonstrates how proper filmmaking and grasp of emotions can cause a ripple effect of emotions onto the one watching, which is precisely the opposite of what Empire of Light transmits. Because I know what the British film and stage director can do, this is even more disappointing. I’m not the biggest fan of his work, but I have seen him do some great dramatic and powerful scenes – for example, the main argument in Revolutionary Road, which is a film that can be viewed as what would happen if Jack and Rose stayed together after the sinking of the Titanic, where April (Kate Winslet) and Frank (Leonardo DiCaprio) express their deep lingering thoughts of longing, aspirations, and dreams.
Empire of Light doesn’t have a single scene that makes you want to revisit it. You get nothing out of Sam Mendes’ latest, not think about it afterward. Instead, it relies on nostalgia and the “love of the craft” to fuel its emotional core. And a film doesn’t work if that’s your main (and only) ingredient.
Grade: D
