User reviews

This movie was a particular disappointment as Saoirse put in another wonderful performance and the co-star Billy Howle was also good. It is a coming-of-age movie with the awkwardness of the two parties being central. But unfortunately the scenes of their awkwardness go on forever and the quite nice music in the background, rather than making it more important, just seems to be pushing it. This movie needed a lot more substance or a lot sharper editing ... or maybe a different director. Maybe the moral is that the author (here Ian McEwan, whose work I like a lot) shouldn't be allowed to write the screenplay. Not an unpleasant way to spend a couple of hours, but I really hope that Saoirse takes on meatier roles.

Greetings again from the darkness. This is one of those movies that has the look and feel that leaves me believing I should like it more than I do. Ian McEwan (the excellent ATONEMENT) adapted the screenplay from his own novel, and it's by no means a cookie-cutter story. The feature film debut of director Dominic Cooke features one of today's most talented leading ladies, a strong supporting cast, and some stunning outdoor scenery from a very beautiful part of the globe.

The story kicks off in 1962 England with a setting that could easily be a one-Act stage play. We are in a hotel room immediately after the ceremony of a newlywed couple. Awkward movements and forced conversation are interrupted by a formal dinner being served in the room by two waiters. The expected post-dinner gawkiness leads to a bedroom scene ravaged by emotional trauma that goes far beyond inexperience. It's disastrous and leads to full disclosure along the shoreline of Chesil Beach, Dorsit.

Saoirse Ronan stars as Florence and Billy Howle is Edward. Through flashbacks we witness both their budding romance as eager youngsters, as well as pervious childhood moments that now seem to matter. We learn Florence is Mozart, while Edward is Chuck Berry. Maybe opposites do attract, however, the class differences become more obvious as we meet the respective parents. Florence's mom (Emily Watson) and dad (Samuel West) are upper crust types who don't take kindly to her infatuation with one not of their ilk. Edward's dad (Adrian Scarborough) is a school teacher and his mother (a marvelous Anne-Marie Duff) is an eccentric artist, "brain-damaged" in a freak train accident.

Florence and Edward are victims of their time ... a time of sexual repression, where such conversations simply did not occur. It's not so much a story of rejection as it is of being not accepted, though it's clear how childhood led each down their path. Had the film remained focused on this fascinating story line, it likely would have been better received by this particular viewer. Instead, we are subjected to an ending that crashes and burns as it attempts to provide resolution for characters that should have none. A flash forward to communal living in 1975 and a 2007 farewell concert at the beautiful and historic Wigmore Hall (opened in 1901), are little more than a show of disrespect to those viewers who invested in the unfortunate tale of Florence and Edward.

There's talent on display in abundance, (director Dominic Cooke, Ian McEwan adapting his own novel and a cast headed by the superb Saoirse Ronan, the excellent and up-and-coming Billy Howle, Emily Watson, Anne--Marie Duff, Samuel West etc.), so why is "On Chesil Beach" so dull? Could it be the source material itself was dull, (I haven't read the novel), but certainly this tale, set over the course of a young couple's wedding night with flashbacks to how they met, their courtship and so on, never really comes to life.

The time is 1962, before 'the sexual revolution', but McEwan's young couple, (Ronan and Howle), behave as if the birds and the bees were simply that and sex was an unutterable four-letter word, or perhaps just a three letter word that other people used but never them, despite Howle's brain-damaged mother, (Duff, excellent), taking her clothes off at every opportunity. There's no denying that this is a civilised and intelligent picture that builds up to one very beautifully written, directed and acted scene on the beach of the title, but otherwise I just couldn't really see the point of it. A major disappointment.

I have not read the Ian McEwan novella on which this film was based. So I can't offer any comparisons.

The movie shows us the evening right after a young couple, Florence & Edward, have gotten married. It's clear they're fond of each other, but there is also an undeniable tension between them. The film bounces back and forth between flashbacks, showing how they met, fell in love, etc. (as well as flashbacks to childhood for Florence) and back to their honeymoon hotel on Chesil Beach, where we discover that both of them are virgins, and that their wedding night might not flow too well.

In some ways, this is a fascinating look at sexuality, particularly at a time (1962) and place (England), where repression was rampant and one did not discuss sex openly. Yet on the other hand, it's hard to believe that this couple, who we see have had issues with physical intimacy even before marriage, never discussed the topic. They sure have plenty to talk about, and seem to get along quite well and are very fond of each other...yet a couple of uncomfortable (but not impossible) conversations were completely avoided. Florence's issues are only hinted at, and Edward just comes across as a bit of a bumbling fool. I feel bad for them, at times, but also frustrated to the point of dismissiveness at other times.

Florence is ably played by Sairoise Ronan, and seeing her in this film is reason enough to go. Billy Howle plays Edward, and he is problematic. I wasn't sure if the director wanted Edward to be so full of quirks and mannerisms and vocal tics...or if that's what the actor brought to the role. I hesitate to knock the acting without knowing the intent of the filmmakers, but I have to say it felt to me like this film loses a star simply because the male lead just isn't up to the task. The rest of the cast all have tiny roles (including poor Emily Watson, who mostly plays uptight shrews now)...so the film very much rests on these two.

There are some touching scenes (one between Florence and Edward's mother is particularly nice) and lots to talk about afterwards. But it all felt vaguely improbable. I can't say much more without spoiling the outcome...but in the end, this wasn't a movie about repression, it was a movie about just failing to communicate at a very basic, simple level. Sometimes it was credible...other times, when the stakes were so high, it was highly incredible.

The film is a mixed bag, but I do give it a slight recommend, at least for moviegoers who don't need a fast-paced, action packed film. It's quite and reflective. And well done by Ronan.

The trailer seemed promising, found the story to be interesting at first too but it was just too slow and confusing. What I really disliked was the sudden and soppy flashbacks. I usually like slow stories but I just couldn't vibe with it. Watching it felt awfully boring. And I totally blame the script writer and the director for it tbh. Also Ed was poorly written and mistreated. The character they showed of him in the beginning couldn't just become incompetent out of nowhere. Just when I thought Ed might have some struggle within then comes Florence. The story felt like it was only made for Edward slander. The one thing this story lacks the most is character development. I didn't feel any of their character's depth in the story. Everything just felt forced honestly.

In conclusion, the concept could've been made to something phenomenal (maybe?) BUT with better execution.