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 »
In war-torn London, Maurice Bendrix (Van Johnson) falls in love with neighbor Sarah Miles (Deborah Kerr). They begin an illicit romance behind Sarah's husband's back. While war does not ... See full summary »
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 »
Neil Jordan's historical biopic of Irish revolutionary Michael Collins, the man who led a guerrilla war against the UK, helped negotiate the creation of the Irish Free State, and led the National Army during the Irish Civil War.
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.
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.
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
Surprisingly, this genteel period drama was granted an 18 certificate in the UK (the equivalent of an R rating). This was mainly down to the fact the censor found Ralph Fiennes' gyrating buttocks in the numerous sex scenes to be too graphic. See more »
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 »
I've only made two promises in my life. One was to marry Henry, the other is to stop seeing you. And I'm too weak to keep either.
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Two years after the sudden end of his affair with Sarah, Maurice bumps into her husband, Henry, who confides in him about his wife's possible infidelity. Driven by the same jealousy that plagued him during their affair, Maurice poses as Sarah's husband and hires a private detective to follow her and find out what she's doing. As his investigators probe Sarah's personal life, Maurice remembers back to his affair.
Having seen the 1950's version of this book, I was interested to see a version that didn't have to worry about the heavy censorship of that period. Funnily though, it is not the nudity, passion or sex that adds to this version of the story; rather it is the ability of the film to show the strong feeling and emotion between the characters. The plot is pretty true to the book and follows the same turns that are ultimately quite touching (even if their reliance on honour and promises to god seem out dated today). The film manages to evoke sympathy, pity and dislike for each of the three main characters - each is a victim here and the film allows us to see that and feel for each of them regardless of the rights and wrongs of their respective situations.
It is difficult to describe but the film is very much of the period; it is very reserved and honourable considering the material, but yet it is deeply emotional and involving. The only sticking point is the plot's reliance on Sarah's prayer; as I said, it seems difficult to accept in this age that this would have been held to - ironically the 50's version was more acceptable for some reason; maybe because I saw them having sex in this film, maybe then I found it harder to accept a `sinner's prayer' as it were. Besides this, it still does work well and is quite tragic as a love story - this is not a romantic date movie sort of thing!
The main reason I was able to buy into the heart of the emotion was the performances. Fiennes is so perfectly English in the role; he is restrained yet bursting with emotion. He does a wonderful job of having his character eat away at himself with jealousy without ever seeming pathetic. Conversely Rea does a good job of making his character pathetic but still very much keeping the sympathy of the audience. The fact that I get to see Moore in the buff (again!) is not a boost to this film, however her performance is. She is good in the role (better and freer than the 50's actress) even if I didn't feel she was as good as Rea and Fiennes - maybe because her character is less expressive and, simply, a `good' person: I can only assume Greene was unable to look down on his lover even after the end of the affair.
Overall this film has a few sticking points but it is a wonderful version of Greene's book of the same name. Much was made of the nudity and such, but it is the rawer emotion of this telling that makes it work well. The script puts them on the screen and the cast do well to bring them out as complex as they are in real life.
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