On a rainy London night in 1946, novelist Maurice Bendrix has a chance meeting with Henry Miles, husband of his ex-mistress Sarah, who abruptly ended their affair two years before. ... See full summary »
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 »
Set in 1930s Shanghai, where a blind American diplomat develops a curious relationship with a young Russian refugee who works odd -- and sometimes illicit -- jobs to support members of her dead husband's aristocratic family.
In mid-1800's England, Oscar is a young Anglican priest, a misfit and an outcast, but with the soul of an angel. As a boy, even though from a strict Pentecostal family, he felt God told him... See full summary »
Francie and Joe live the usual playful, fantasy filled childhoods of normal boys. However, with a violent, alcoholic father and a manic depressive, suicidal mother the pressure on Francie ... See full summary »
In the opulent St. Petersburg of the Empire period, Eugene Onegin is a jaded but dashing aristocrat - a man often lacking in empathy, who suffers from restlessness, melancholy and, finally,... See full summary »
Saxophonist Danny witnesses the murder of his band manager and a deaf-mute girl after a gig. Questioned by the police, he remembers only the orthopedic shoes of the killers' leader. So ... See full summary »
In the 1970s, a young trans woman, Patrick "Kitten" Braden, comes of age by leaving her Irish town for London, in part to look for her mother and in part because her gender identity is beyond the town's understanding.
The two teenagers Jimmy and Rose spend their vacation at the small Irish sea-resort Bray. Out of boredom they observe other people and imagine wild stories about them. One day they observe ... See full summary »
On a rainy London night in 1946, novelist Maurice Bendrix has a chance meeting with Henry Miles, husband of his ex-mistress Sarah, who abruptly ended their affair two years before. Bendrix's obsession with Sarah is rekindled; he succumbs to his own jealousy and arranges to have her followed. Written by
When Henry storms out of the pub after Bendrix tells him about Smythe, Bendrix finishes off his whisky in one gulp. In the next shot, there is still some whisky in the glass. See more »
Are you on a new book?
It's not about us, is it? The one you threatened to write?
A book takes a year to write. It's too hard work for revenge.
If only you knew how little you had to revenge.
I'm joking. We are adults. We knew it had to end some time. Now we can have lunch and talk about your husband.
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Wishing (Will Make It So)
Written by Buddy G. DeSylva (as Buddy DeSylva)
Performed by Vera Lynn
Courtesy of The Decca Record Company Ltd.
Under license from The Film and TV Licensing Division of The Universal Music Group See more »
"This is a diary of hate," is the opening line of this film, said by the main character and narrator, novelist Maurice Bendrix(Ralph Fiennes). That opening line tells you this is, or should be, a tale of passion. The novel by Graham Greene the film is based on is certainly a novel of passion, though much of it is within, and hard to dramatize in a film. But if any director could do it, surely it could be Neil Jordan, who makes films which overflow with passion(with the exception of MICHAEL COLLINS, but that was a different kind of film); even his disaster IN DREAMS was a failure of excess. And yet this film doesn't really come to life until maybe at the end.
Contrary to what one comment said, it isn't because Greene isn't relevant. Adultery will always be with us, and therefore always ripe for stories of any kind, and Greene told it in a way which is still fresh today. And Jordan makes the interesting decision to shoot the film in mostly medium shots or close-ups, rather than in panoramic wide shots, perhaps to fit the setting(London) or make you feel events are crowding the characters. But if you're going to take a microscope to your characters, you better show something, and Jordan really doesn't. Instead, he relies too much on narration and conventional storytelling(contrast this with how he adapted THE BUTCHER BOY), and until we get to hear the story from Sarah's point of view, we don't get a sense of what drives these people.
Fiennes is one of my favorite actors, but he doesn't do anything distinctive here. Only at the end does he truly come alive. Moore is also a favorite, but she too has little to work with until the story shifts to her point of view. And even when we find out about Sarah's fate, it wasn't moving enough. The ones who really come through are Rea, who not only has a note-perfect British accent, but is terrific as someone who, as he puts it, is not a lover. And Ian Hart brings some comic relief as the detective hired to follow Sarah. But this is definitely a disappointment; IN DREAMS I hated as well, but that could be dismissed as an experiment which went wrong, while this film should be the type of film Jordan excels at, but doesn't here.
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