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The End of the Affair (1999)

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 »

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Writers:

(novel), (screenplay)

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Nominated for 2 Oscars. Another 2 wins & 25 nominations. See more awards »

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Cast

Complete credited cast:
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...
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Heather-Jay Jones ...
Henry's Maid (as Heather Jay Jones)
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Sam Bould ...
Lance Parkis (as Samuel Bould)
Cyril Shaps ...
Waiter
Penny Morrell ...
Simon Fisher-Turner ...
Doctor Gilbert (as Dr. Simon Turner)
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...
Nicholas Hewetson ...
Chief Warden
Jack McKenzie ...
Chief Engineer
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Storyline

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 Anonymous

Plot Summary | Plot Synopsis

Taglines:

The end was just the beginning.

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for scenes of strong sexuality | See all certifications »

Parents Guide:

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Details

Country:

|

Language:

Release Date:

21 January 2000 (USA)  »

Also Known As:

El ocaso de un amor  »

Box Office

Budget:

$23,000,000 (estimated)

Opening Weekend:

$198,535 (USA) (3 December 1999)

Gross:

$10,660,147 (USA) (17 March 2000)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

|

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Neil Jordan wanted his longtime collaborator, composer Elliot Goldenthal to do the film, but Goldenthal was committed to score Titus (1999) for his companion, Julie Taymor. John Barry was considered, and he wrote a demo theme for the film, which ended up on his 2001 solo album "Eternal Echoes," but Jordan eventually settled on Michael Nyman. See more »

Goofs

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 »

Quotes

Maurice: Pain is easy to write. In pain we're all drabbly individual. Now what can one write about happiness?
See more »

Connections

Features 21 Days Together (1940) See more »

Soundtracks

Symphonie
Written by Alex Alstone, André Tabet and Roger Bernstein
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
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User Reviews

 
Both sides of the coin
29 March 2001 | by (Ohio, USA) – See all my reviews

Warning! This review is unabashedly sentimental.

I first saw this film in the midst of the strongest love affair of my life and thought it was a beautiful love story, with beautiful actors and beautiful music. I loved it because I was in love and it reinforced all those wonderful feelings.

Then, almost masochistically, I rented it after the break-up of that same four year long romance and I loved it then as well for entirely opposing reasons. I could feel the bitterness of how cruel love can be when it's been taken away. Maurice Bendrix (sp?) became my sympathetic friend. I could feel why he pulled his hand away at the table -- too painful and too dangerous. Whereas when I saw it the first time, I just thought, "That cold b*stard! Why does he want to hurt her?" I felt his frustration at trying to slay a beast without a face. He didn't hate anyone or anything except his own awareness of the realities of love.

The book and this successful cinematic adaptation paint the whole picture... 360 degrees. And I think it works from all the different perspectives. Love is the most wonderful emotion but it can also carry as much danger along with it as hate can. And there's no way to completely be in love, your guard let completely down, without risking your neck. If Bendrix could do it all again, would he do anything differently? Would he have stopped himself from falling in love with Sarah? Could he have stopped himself?

I still appreciated many of the same things as I did the first time -- the acting of the leads and the strong supporting cast, the warm beautiful interior shots, the way the plot untwists ... but other things came to forefront on second viewing that slipped by the first time -- Maurice's little flashbacks on the stairway (god, that's just how it is) and the music! It seemed so benignly beautiful the first time I saw it, but it became almost too painfully intrusive the second time.

Maybe I'll watch it again when I get a more neutral perspective on the whole matter. I wonder if we ever have that when it comes to love.


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