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The End of the Affair (1955)

In wartorn London Maurice Bendrix falls in love with neighbor Sarah Miles. They begin an illicit romance behind Sarah's husband's back. While war does not last forever, neither does love in... See full summary »

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(from the novel by), (screenplay) (as Lenore Coffee)
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Nominated for 1 BAFTA Film Award. Another 1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
...
Stephen Murray ...
Charles Goldner ...
Nora Swinburne ...
Mrs. Bertram
Frederick Leister ...
Dr. Collingwood
Mary Williams ...
O'Donovan Shiell ...
Doctor
Elsie Wagstaff ...
Christopher Warbey ...
Nan Munro ...
Mrs. Tomkins
Joyce Carey ...
Miss Palmer
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Storyline

In wartorn London Maurice Bendrix falls in love with neighbor Sarah Miles. They begin an illicit romance behind Sarah's husband's back. While war does not last forever, neither does love in this existentialist tale. Written by Robert Bole <rjbmbv@teleport.com>

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Drama | Romance

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Release Date:

May 1955 (USA)  »

Also Known As:

Das Ende einer Affaire  »

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Sound Mix:

(RCA Sound Recording)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Gregory Peck was offered the male lead. See more »

Goofs

After the bomb explosion, when Sarah leaves, she stops in doorway and grabs the door side with the right hand. Between cuts, she appears without hand on the door at all. See more »

Quotes

Sarah Miles: Now that I'm what they call "good" I'm no good to anyone.
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Connections

Featured in Peter Cushing: A One-Way Ticket to Hollywood (1989) See more »

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User Reviews

 
Worthy version of the novel
17 March 2001 | by (Los Angeles, California) – See all my reviews

Van Johnson is miscast but still surprisingly good as the loving/bitter writer who tells this story; Kerr is very good and Cushing is even better. In fact, Cushing is distinctly superior to Stephen Rea, who played the role of the husband in the 1999 version. Rea was mopey and morose, but Cushing is a mild man doing the best he can, a picture of unexpected courage -- and frailty. It's one of the best performances he ever gave; it's a shame it didn't lead to bigger roles.

The movie does not, cannot, express the passion so much a part of Neil Jordan's version; furthermore, it's talkier, and the talk isn't as good. It doesn't capture the period (World War II and just after) in the slightest, despite some newsreel footage, but otherwise London is presented very well in handsome black and white photography. It's an honest and respectable version of Greene's novel, but Jordan's is the classic.


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