Empire of Light
Following the critical success of the period-piece war film 1917, writer-director Sam Mendes’ follow-up Empire of Light could not be more of a departure, both in terms of the plot and quality (for some). Starring Olivia Colman, the film follows Hilary Small, an older woman who works as the supervisor at a slowly fading cinematheque named the Empire. Going through her monotonous days and dealing with a predatory manager (Colin Firth), Small finds herself struggling with her mental health. Things seem to shift, however, when a younger man, Stephen (Micheal Ward) begins working at the theater. A whirlwind romance erupts between the two but between the skinhead movement of the 1970s and Hilary’s seemingly dormant mental illness, the relationship might be over before it even truly begins. Empire of Light serves as a vehicle for powerhouse performances by both of its leads and as a canvas for Roger Deakins’ stunning cinematography but ultimately lacks any semblance of emotion or depth.
In most films she stars in, Olivia Colman is the star attraction; Empire of Light is no exception and Mendes is aware of that, unsurprisingly so. Colman bleeds into the character and approaches the struggling woman with empathy and realism. Earnestly Hitting every beat in Hilary’s character arc, ranging from her more charismatic moments to a mental episode towards the climax of the film. Mendes’ scenes are written to complement these strengths but at some points, it’s apparent that an attempt to secure an Oscar nomination was at the forefront of his mind while writing these scenes. It may very well be in the cards for them; perhaps, their only chance at a nomination, if not one for Deakins’ cinematography. All this praise for Colman isn’t to say the rest of the cast is unable to keep up. Her co-lead, Micheal Ward, is more than able to hold his own against her. His performance as a Black man during a notoriously racist time in the United Kingdom never came off as a plea to get tears from the audience. Instead, he finds the humanity in Stephen and plays to the character’s vulnerabilities and innocence. The supporting cast in Empire of Light takes a back seat with both Colin Firth and Toby Jones, who plays the Empire’s projectionist, turning in solid performances.
Arguably one of the more visually arresting scenes of the film, Roger Deakins’ craft is on full display with how he uses with lighting of the fireworks and neon signage to create a romantic, nostalgic image.
Like Olivia Colman, Roger Deakins’ acclaim as a highly coveted cinematographer precedes the reputation of every film he works in. His work on Empire of Light is yet more proof of his stellar stature. Here, he takes a more grounded approach by using natural lighting and emphasizing shadows. He beautifully frames each of the characters and is constantly using the fading beauty and architecture of the once-booming Empire and pleasing cityscape to his advantage. If there’s something to watch Empire of Light for, it’s Deakins’ craft. Trent Reznor and Atticus Ross’ score accentuate and add to the beautiful images Deakins has created. The melancholic piano notes and dreamlike synths alongside the visuals create a nostalgic, hazy atmosphere. It’s this atmosphere that ultimately kept me enamored through Empire of Light’s two-hour runtime, not Mendes’ writing.
For a film heavily reliant on its characters, it’s a shame that much is not known about Hilary besides her struggle with depression and loneliness. There’s one point in the film where she even calls herself boring. I wonder if Mendes himself was subconsciously aware of that fact too. Apart from that, there are questions to be had surrounding her character. Is there a reason why she is in this mental state? Did she have a past with someone else before meeting Stephen? This shallow thread can be followed through to the film’s themes. As mentioned, Hilary’s character is used to discuss mental health but not much is said further than the fact that she has depression. What about it? Same on the topic of racism. Yes, we know the white supremacist movement of the Skinheads was a tumultuous time for minorities in the U.K. but what is there to be said about that? Adding insult to injury, what does a white man have to add to that conversation? What am I supposed to leave this film with? Mendes’ shoehorned discussion about racism also feels like yet another thinly veiled attempt to pander to award committees. Even his effort to make the film a testament to the power of cinema comes up short. Empire of Light ends up talking much about nothing. Mendes’ unawareness of pacing also leads the film to its detriment. Towards the final act, the film refused to end despite having multiple opportunities to. A good 15 minutes shaved off would have made for a tighter, less meandering viewing experience.
Empire of Light falls victim to the old film adage of high in visuals, low in substance. Rest assured, the film was still engaging for its runtime but it’s no thanks to the plot, exploration of its themes, or characters. Instead, the film heavily relies on its two leads and the audio/visual experience provided by Deakins, Reznor, and Ross. Much like the cinema in the film, Empire of Light feels desolate and will likely be forgotten about after awards season, if not already.
Verdict: A Nick Pick if an alluring atmosphere carried by a film’s score and cinematography is enough to hold you over but otherwise, a Nick Skip if a thought-provoking plot is what you desire.