Scoring and sound design find themselves intertwined to a greater and greater degree these days. Usually, though, we are talking about horror films or even video games when it comes to the blurring of this audio-line, not a film set in the World War II era. Yet that is the case for ATONEMENT. Symbolized by the effect of an old, manual typewriter, this story about the power of words, the power of imagination to curse and the bless, is woven into every aspect of the film, including the score. There are a number of scenes that feature other sound elements that crossover from design to score such as: the sudden strum of piano strings, the monotony of a ball thrown against a wall, the tension of a single piano key being hit repeatedly, or a church organ playing a wedding recessional. Still, the authoring of letters and stories, represented by typewriter, is the central symbol of the movie and is the score's most prominent and dynamic facet.
From the soundtrack's onset, 'Briony,' (track 1) we are introduced to the typewriter element. It's incorporation into the score elevates the in-film-music to a level of involvement that few scores have seen. Strung throughout the film and score just like any good musical theme would be, the typewriter returns in 'With My Own Eyes' and 'Come Back' (track 5, 11) and like 'Briony' the effect is not just an arbitrary inclusion thereof, but MARIANELLI has clearly composed these pieces with the typewriter in mind as an actual instrument. The employment of the typewriter actually reflects the mood and emotion of the scenes in which it appears. Certainly not the first time this has been done, John Powell's innovative score for I AM SAM comes to mind, but ATONEMENT goes beyond a somewhat random incorporating real-world sound effects, making them apart of his musical score; matching pitch, key and tempo.
Now, as intriguing as the typewriter component is, DARIO MARIANELLI goes further. 'Elegy for Dunkirk' (track 10) offers another example of some clever composition. The piece is set to one of the most memorable shots of the film (truthfully in all of film in 2007) as what appears to be a single shot that must last over two minutes, we pan by a group of British soldiers singing together as we also see humanity breaking down before our eyes. Those very voices are worked directly into the score, fading in and out again, as the shot continues on by the choir. Their inclusion helps make track 10 a stunning piece to indulge.
Following the palette of his breakout score for 2005's PRIDE AND PREJUDICE (which also featured the stellar piano performance of Jean-Yves Thibaudet), ATONEMENT also spotlights the piano and includes the lullaby-like strings and woodwinds also found therein. ATONEMENT; however, is it's darker, more tragic cousin. Both are exceptional works, but ATONEMENT has greater depth and has to be considered among the composer's very best.
