Empire of Light
Sam Mendes’ tribute to film is a beautiful mess.
Colin Firth and Olivia Colman are ready for their close-up in Sam Mendes' Empire of Light.
Behind the gilded sconces and red carpets of the Empire Theater in the south of England is a motley little family. Punks, oddballs, and the lost all find their way to the cinema where they have crafted an odd little community. It’s more than just taking tickets and sweeping up spilled popcorn, the Empire staff is there for each other, even as the world around them is thrown into upheaval.
At the heart of the employees is Hilary (Olivia Colman), a woman who is struggling with her mental health. Newly on lithium, she’s worried that she’ll spend the rest of her life numb, stumbling through the motions of managing her staff. She finally begins to feel something when Stephen (Micheal Ward) joins the Empire crew.
Young and soft-hearted, Stephen immediately becomes a favorite of the Empire staff, and Hilary. She begins to open her eyes to the world around her. At first, Stephen is dazzling — a handsome, affable young man that loves adventure and making those around him laugh. But as Hilary begins to know Stephen, she realizes she’s not the only person battling for survival.
Stephen, who came to England from Trinidad as a child, is coping with the growing skinhead culture in 1980s England. Dissatisfaction under the Thatcher government has bred increased racism and the street harassment Stephen endures is becoming more aggressive and nearly violent.
As political and social tensions rise in Britain, the crew at the Empire must come together to support each other.
Director/writer Sam Mendes crafted Empire of Light during the pandemic. He said he spent a good portion of time reflecting on his memories of the early 80s in England. And that’s what Empire of Light feels like — hearing someone reminisce without any throughline. Plots meander, social issues are brought up and dropped, and characters get one moment to shine before fading into the background. It’s clear Mendes has a lot to say — about the magic of cinema, about the turmoil of Thatcher’s England, about mental health, and about racism — but none of it is communicated clearly. This is Mendes’ first script and it seems as if an editor might have been a useful tool to focus the director’s thoughts.
Instead, what we get is a beautiful jumble of a story. Cinematography legend Roger Deakins helps Mendes wrap Empire of Light in a dreamy haze. The whole movie feels like a fond memory, with creamy textures and soft lighting. Deakins also works through a lovely tribute to the power of film, with some fascinating shots of the projecting process that somehow makes the moviegoing experience seem even more magical. It’s a gorgeous film and one that owes a great debt to Deakins’ mastery of light and shadow.
Though the script is meandering, the performances are sharp and to the point. Colman displays her typical powerhouse skills as a fundamentally lost woman at the beginning of the film. When we first meet Hilary she’s numb, pumped full of lithium, and just trying to get by. As Stephen helps her open up, however, Colman lets some life bleed back into Hilary’s eyes. It’s a dangerous thing, for Hilary to feel, so easy for her to fall back into the manic episodes that nearly brought her to ruin. Colman never pushes too far, keeping Hilary sympathetic, even as she does things that might be troubling.
As the sweet and lighthearted Stephen, Ward feels like a movie star. His charismatic smile and gregarious personality easily charm all around him. It’s easy to see why everyone at the Empire loves him, and why Hilary is willing to take a chance and open up to him.
There’s even a lovely moment for Toby Jones, as Norman the projectionist, who teaches Stephen about the projectors and how the magic of the movies is created. It’s a lovely moment and one that might have you glancing up at the beam of light over your head in the theater.
Empire of Light isn’t a perfect film. It is at best a series of vignettes about the oddball family that grows from a movie theater during a turbulent time. Amusingly, Mendes seems to have made a very British version of the 90s cult favorite Empire Records — just substitute Colin Firth for Rex Manning and you’re basically there.
Still, in the midst of this unfocused film are some beautiful moments and lovely shots. Colman and Mendes always have something interesting to say, and Roger Deakins never misses.
Verdict: Empire of Light is a bit jumbled but full of heart. It’s a lovely afternoon watch for cinephiles.
Empire of Light is rated R and available in theaters December 16.
