With special advanced screenings on Feb. 13 & 14 at select Ayala cinemas, before its regular run on Feb. 22; Empire of Light is the latest film from renowned director Sam Mendes. It’s a love story and I say that in more than one way; as while it is about two persons unexpectedly connecting on one level, it’s also Sam Mendes’ love poem to films like Cinema Paradiso - films that talk about filmmaking and the world of the film industry.
Written and directed by Mendes, and with a cast that includes Olivia Colman, Colin Firth, Toby Jones, and newcomer Micheal Ward (from Small Axe), one would think this film would be a slam dunk for Awards consideration. After all, Mendes was behind American Beauty, Road to Perdition, Skyfall and 1917, to name some of his films. But other than Roger Deakins nomination for Best Cinematography, the film didn’t merit any Oscar favor. The film fared much better at the BAFTAs, and one could call that a home court advantage.
And I’d venture to say that on almost any other year, Empire of Light would have garnered more nominations. But unfortunately, this has been a year when so many Movies About the Movies and Filmmaking have been released, stealing the thunder from Empire of Light. There’s Speilberg’s own ode to filmmaking, the very personal The Fabelmans, and there’s Chazelle’s bloated and misguided paean to early Hollywood, Babylon. India has Pan Nalin’s Last Film Show, and Leonor Will Never Die, from our own Martika Ramirez Escobar, could be categorized as straddling that subgenre.
Set in Margate in the early 1980’s, much of the film happens within the confines of a palatial Art Deco theater, where Hilary Small (Olivia Colman) is the workaholic duty manager. The big irony is how despite her years working for theater owner Mr. Ellis (Colin Firth), and being a friend of projectionist Norman (Toby Jones); Hilary can’t even remember the last time she sat in a theater and enjoyed a film.
It’s the arrival of trainee Stephen (Micheal Ward) that pushes Hilary out of her self-imposed shell, and brings this romantic drama to it’s shining moments. Admittedly, in the scope of the film industry, the cinemas and how they’re run, isn’t the stuff that would denote excitement or vicarious adventure. So it’s a small sidebar story of human drama that ends up having to propel this film.
The cinematography is gorgeous, and Deakins definitely delights and deserves his nomination. In fact, for many, it’s this visual magic that acts as the saving grace of the film. Myself, I appreciated how personal this all is for Mendes - he’s said in interviews that the character of Hilary is partially inspired by his own mother. What film references there are, are personal choices of Mendes and must be films that helped him choose his own career path.
Empire is a lovely small film, beautiful to watch; but the characters never quite combust or exhibit much chemistry. It’s Hilary doing all the heavy lifting, but it isn’t enough to elevate the film to cinema heaven.