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Plot: Adapted by Ian McEwan from his bestselling novel, the drama centers on a young couple of drastically different backgrounds in the summer of 1962. Following the pair through their idyllic courtship, the film explores sex and the societal pressure that can accompany physical intimacy, leading to an… Runtime: 110 min Release Date: 07 Sep 2017
A good period piece for the first 80 minutes before a magnificently touching final half hour will win you over (by Horst_In_Translation)
Here we have "On Chesil Beach", set in the middle of the 20th century for the most part, briefly after WWII, and this is probably my new second favorite movie with the imdb release year 2017. Director is Dominic Cooke and these 110 minutes are his first full feature movie I believe. The writer is Ian McEwan who has written the bases for many many movies in the last decades, the most known probably Atonement over a decade ago. For this one here, he adapted his own novel and looking at the script and story here, this may have been a really wise choice. It is that good. Sure it helps <more>
to have an actress like Saoirse Ronan on board who may very well be the by far most talented performer from her age group by now. 3 Oscar nominations before the age of 25 says it all and hopefully that win is only a matter of time. But lets take a look at this film here. The first 75-80 minutes, it is a decent watch, a convincing period piece with no major weaknesses that may not fly by, but also never drags by any means. Several interesting subjects are dealt with like social differences between lovers, unrequited love , struggling parent-children relationships, first love, marriage or the desire to get married , anger management, inexperience when it comes to dealing with the other sex, aspiring music careers and more. It's all okay at this point, but nothing stands out too much. So I prefer to focus more on the lastg hour in my review, namely the moment when we have the two protagonists meet on Chesil Beach as newly-weds and we find out about their struggles that result from their unfulfilling wedding night. His accusations that she left him standing there humiliated. Her proposal to live together as a couple for everybody to see, but not to pursue a sexual relationship at all. Heavy material really, ot was a different time. Today of course we can say they were both very young, especially the girl and that her perception and her longings and desires in that area may very well change at some point in the near future and that it should not be seen like that as if it is something finite really. Or is it? Maybe he could not have approached her from that perspective every again and he must have hoped for her to take steps accordingly. I don't think it is a case of her not loving him, they did love each other, but their problem was probably his temper and his ego as well, his fear of being a failure as well as her insecurities that probably did not help matters at all, even if in theory they should have.Then we have 2 big jumps in time afterward: the first takes us 20 years later, maybe more into the 1970s and we see the male protagonist considerably older now, leading a hippie life with several sex partners it seems, so clearly more secure in that area now and when he tells the story about his past, without mentioning himself, we find out how much he still longs for the girl from his younger years and maybe how much he regrets already not sticking with her. There is that crucial scene with a young girl at the man's record store. We find out she is the female protagonist's daughter thanks to the inclusion of many smart and qually touching references about Chuck Berry that shows us how she kept longing for him , the name of her little orchestra and eventually the girl carrying the beautiful name Chloe. I found this scene especially heartbreaking as we see that Ronan's character developed sexually obviously away from her initial fears and struggles and even became a mother who was probably leading a fairly normal life when it comes to physical attraction and performance in the bedroom. You could see how it broke his heart to find out about that. And that at the same time, had she stayed with him back then, or he with her, this little girl never would have existed. And the second jump in time is even further taking us deep into the 21st century when both are old now. We have him visit the final concert by her and her band, something that was referenced many times before in the movie how he will see her and how it will be special, only with the difference that in these plans they are both still loving couples, but eventually it was as if their marriage never existed. And when we found out who became the father of her children, it is especially heartbreaking as this man was not one she showed much interest in when meeting the male central character earlier. When we see him burst into tears in the audience, it is not really possible to not join him in the theater you are sitting and experiencing this truly sad and depressing turn of events. I think pretty much everybody was crying in the showing I was in, inclusding myself obviously and when I was outside again seeing people leave the theater with wet eyes still gave me a feeling of warmth really. They may be strangers, but that did not keep us from feeling the same. What else is there to say. I think my perfect rating says it all. It is only a 7 probably before the last 30 minutes, but then it all goes north so quickly and so unstoppably that I cannot do anything other than giving it a perfect 10/10 here. For me personally, I somehow always felt that there would not be a happy ending in store for the two eventually and that's perfectly fine because it did feel realistic. Billy Howle is of course not as good as Ronan for the most part, but that is fine because pretty much nobody his age is these days. he still holds himself pretty well I must say. Might be a good career in store for him too in the next couple years. Overall, this is a must-see, preferrably with your significant other. It also will make you think a lot about life I hope and about how all decisions have consequences, many of them very crucial ones and it's important to make the right ones as much as you can, so you won't get in a situation like our perhaps eventually fairly lonely male protagonist here to regret what he did in terms of life and love. A good film that closes in on perfection towards the end. You will be moved and brought to tears if you're not dead inside. Highly highly recommended, also to males who can perhaps even form a stronger connection with the tragedy towards the end because of whom it happens to. Do not miss out.
Enjoyed it so much. Personally I really like this kind of movies. Saw many people saying that it was boring. Must say that I wasn't bored for even a minute. Highly recommend this move!!! Acting was brilliant. Beautifully played!
There's more to it than it meets the eye (by chandugayan)
I read a lot of reviews and was surprised to see that none has discussed the part where they show young Florence on a boat with her father there are around three scenes where this scenario is show time to time bouncing back with the present time at Chesil beach and the love story unfolding, the director clearly points out why flounce is terrified of the consummating part of the marriage she was molested by her own father when she was young, this has affected adult Florence in ways she has no idea explaining this exact line was there in the movie. When she runs away from the hotel Edward <more>
Billy Howle thinks she is frigid being a virgin how can one be frigid on their first night, oh man worst part Edward left her not knowing of the root of the problem but was so idiotic to give up on her so easily this is portrayed with the last scene when he turns his back on her at the beach on the night of their wedding after the scene of her farewell performance where Edward regrets it all the he would've had oh the melancholy of it all just leaves you thinking about Love & Lust. Is sex so important to give up on the love of your life......
For almost its entire length, this adaptation of Ian McEwan's 2007 novella is close to perfect: the beautifully-modulated, restrained story of a strait-laced couple in the still strait-laced early '60s who look back on their often idyllic courtship from the claustrophobic environs of their honeymoon suite.McEwan and director Dominic Cooke don't change much of the book: they and their cast just subtly externalise feelings that were elucidated as thoughts on the page, and cast off a few memorable moments that might alienate or unwittingly unnerve a cinematic audience a spasming <more>
muscle, jizz on the face .The leads are brilliant, particularly Saoirse Ronan as the sexually repressed violin prodigy Florence, and if a couple of elements don't quite work − McEwan's slightly embarrassing fixation with Edward Billy Howle liking a good ruck, and Anne Marie-Duff's simplistic scenes as his mother, which are tonally off − those are offset by passages of understated lyricism and rich, convincing romance which clash gloriously with the hysterically uncomfortable wedding night, from the inedible none-more-1962 meal rendered gloriously on the screen: slice of melon with glace cherry, anyone? to Edward rolling off the bed because he can't have sex with his shoes on.When the explosion comes, and it does, it's heartbreakingly portrayed, and one of those sequences that works so well because it's so faithfully rendered. Then McEwan starts to write new scenes that were merely summarised in the book, and all bets are off. The first three − dealing with Edward and his family − are minor but quite satisfying, especially the one with his father, and the fourth is an absolute belter, a slightly obvious but incredibly affecting scene set in a record shop in 1975.If only they'd ended the film there, as the next has Edward explaining not just the moral but also the text of the story, before a closing sequence set in 2007 that has some of the worst Old Person Make-Up that I've seen: he looks like he's been badly burned, and the rest of the cast are only slightly less ridiculous. Yes, the moment that it's all leading up to got to me, even while I knew I was being manipulated, but from Edward's risible stance at the crease onwards, it's an embarrassing and completely unnecessary coda.Look, lads, you've got a while till the general release, how about heading back and having another go? Because most of this movie is bloody brilliant.
On honeymoon night newlyweds recall their past and break up. (by maurice_yacowar)
Ian McEwan's screenplay for his own novel provides some fascinating examples of creative adaptation. For example, the novel ends with Edward remembering Florence walking away from him till she is out of his sight. In the corresponding scene in the film the newlyweds stand at opposite ends of the screen with a cluttered rowboat between them. They speak across the abyss. As the raging Edward lets Florence walk away, the camera withdraws until Edward is left alone on his side of the screen. But the boat also sinks out of sight, below the horizon. That is, his ship has sailed. The film adds a <more>
verbal/literary metaphor. More dramatically, McEwan alters the ending by fleshing out Florence's future and giving the couple a reunion that provides an emotional release - for the characters as well as the audience. Edward's closing remarks expand into an emotional scene that the screenplay adds to the novel. After a 50-year separation the erstwhile lovers independently fulfil their romantic pledges in the concert hall they ambitiously predicted. She plays the Mozart he could "sing;" he sits in C3. But more important than this literal realization, they finally find themselves in the same emotion, their love now tempered by regret. He weeps helplessly at the quintet's standing ovation. Tears stream down Florence's face, dramatizing the novel's remark that at every performance she ruefully remembered him. The novel closes on Edward's private remorse, his recognition that he ruined his life by his inaction when Florence walked away. They did love each other and perhaps could have resolved her sexual repression over time and with understanding. But Edward was always too quick to anger - as in his avenging the insult to his Jewish friend. Indeed the violent rage that worried Florence may have been a subconscious element in her attraction: it made him something like her short-fused father. A boat scene keeps the subtle possibility of his sexual abuse of her as a child, the tennis scene the father's rage over her perceived breach of his privacy. Edward chillingly raises a rock when he attacks Florence for not keeping her sexual oath. He throws it into the sea, but not until he has admitted the possibility of his violence against her. The careful graduation of the pebble sizes along the beach - possibly the novel's central metaphor - parallels the film's constant nuancing of emotions and their tacit expression. Sailors determine their location from the size of the stones. We navigate our lives according to the proportion we allow our emotions. The film's ending steps outside Edward's perspective to round out Florence's future. She married her quintet's cellist, who had long desired her and himself accused her of hiding her forcefulness under an apparent shyness. He overcame her rejection, married her and developed the sexual relationship signified by their consequent children. This Edward first learns when her daughter Chloe buys a Chuck Berry record for Florence's birthday. Her name and "bouncy and merry" description prove her lineage. Edward doesn't follow Chloe very far, opting again to withdraw from Florence. But he goes to see her perform at her quintet's final performance. While Edward retreated to his own musical taste, Florence retained her attachment to the music he introduced her to, even as she advanced her classical career. Their career successes similarly contrast. While her college musical group succeeded for 50 years including the young violinist Florence imposed , Edward abandoned his passion for History and ended up managing a range of vinyl record shops a pop culture version of history/anthropology . He remarried but had no children and remained broken by his rejection of Florence. They both may have started with Firsts at school, but in overcoming their respective emotional blocks Florence exceeded Edward. Usually an ending imposed in a screen adaptation simplifies or debases the original. The common motive is to provide the happier ending that the mass cinema audience is assumed to demand, more than the solitary reader. McEwan's addition here serves that purpose in heightening the emotional impact. But it remains wholly congruent with the intentions and effects of his own source. It deepens rather than softening the oiginal.
"On Chesil Beach" R, 1:50 is a drama from first-time feature film director Dominic Cooke known mainly for helming TV's "The Hallow Crown" and "National Theater Live: A Comedy of Errors" . The screenplay is by British writer Ian McEwan, adapting his own 2007 novella of the same name. The film stars multiple Oscar nominee Saoirse Ronan and Billy Howle - and was released one week after another literary adaptation, "The Seagull", in which the same two actors played young Russian lovers. This story follows two young Brits as they meet, fall in love <more>
and get married, focusing mainly on the wedding night.Florence Pointing and Edward Mayhew have just been married and have arrived at a hotel at the titular beach for their honeymoon. Through an uncomfortable dinner in their room and awkward fumblings with their clothes, it becomes painfully clear that they are equally inexperienced and nervous regarding sex. As the evening slowly progresses, we see flashbacks of how their romance developed, with hints at what makes the prospect of sleeping together so uncomfortable for them - especially Florence. When things come to a head, the young marrieds have a seaside conservation which reveals much about who they are and the era in which they live and has very important consequences for the rest of their lives."On Chesil Beach" is one of the most layered and most profound movies you are likely to see in 2018. Woven in with the development of the romance, the developments on the wedding night and the repercussions of all of it are themes of sexual repression, gender roles, class differences, pride, regret, communication, forgiveness and, of course, love and marriage. Some will say that not much happens in this film, but there is still a whole lot happenING. And through it all, the considerable acting chops of the two leads bolstered by solid performances from multiple Oscar nominee Emily Watson, Anne-Marie Duff, Samuel West, Adrian Scarborough and Bebe Cave make the characters exceedingly sympathetic and relevant. This is a very well-done film without much action, but with plenty to show all of us. "A-"
For most of the film, 2 Acts are interwoven. Act 2 is the afternoon / evening of the wedding day, when a virgin couple move hesitantly towards consummating their marriage. Shown in flashbacks is Act 1, the couple's meeting and falling in love. Act 3, about the couple's later life, weakens the impact of the pivotal union.I saw this at the Toronto International Film Festival in September. The director specified that the time period was very exact. 5 years later, with more explicit openness and communication about sex, this story might not exist.
Virgins in the Sixties (by davidgee)
I was never a big fan of Ian McEwan's novel, which seemed to me a bit slight. The movie version has more meat on its bones, but at its core is the same dilemma: a middle-class couple in their twenties who are ill-prepared for the 'consummation' of their marriage in 1962 - five years before the "Summer of Love".Most of the film happens on the day of the wedding. Alone in their room in a Dorset hotel, deeply in love but both sexually inexperienced, Florence and Edward their names, like their story, belong to an earlier era than the 1960s slowly move towards the Moment. <more>
The Moment which goes so clumsily wrong must surely be something which has happened to many couples in times both ancient and modern. The movie has a coda in 2007 that shows how their lives have progressed since that disastrous evening.The performances are extraordinarily good. Saoirse Ronan gives Florence a nervous intensity that is spot-on for the character. Billy Howle has the right look and the right awkwardness. The parents, nice and awful, are all perfect. The cinematography is lovely. The music uses some appropriately ironic pop songs from the 60s. McEwan's script expands his novel with humour as well as pathos. For me there is still a problem with the fact that one moment of 'sexual clumsiness' could have such a lasting impact.