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The End of the Affair (1999)

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A desperate man tries to find out why his beloved left him years ago.

Director:

Neil Jordan

Writers:

Graham Greene (novel), Neil Jordan (screenplay)
Nominated for 2 Oscars. Another 2 wins & 25 nominations. See more awards »

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Cast

Complete credited cast:
Ralph Fiennes ... Maurice Bendrix
Stephen Rea ... Henry Miles
Julianne Moore ... Sarah Miles
Heather-Jay Jones Heather-Jay Jones ... Henry's Maid (as Heather Jay Jones)
James Bolam ... Mr. Savage
Ian Hart ... Mr. Parkis
Sam Bould Sam Bould ... Lance Parkis (as Samuel Bould)
Cyril Shaps ... Waiter
Penny Morrell Penny Morrell ... Bendrix's Landlady
Simon Fisher-Turner Simon Fisher-Turner ... Doctor Gilbert (as Dr. Simon Turner)
Jason Isaacs ... Father Richard Smythe
Deborah Findlay ... Miss Smythe
Nicholas Hewetson 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:

View content advisory »
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Details

Country:

UK | USA

Language:

English

Release Date:

21 January 2000 (USA) See more »

Also Known As:

El ocaso de un amor See more »

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Box Office

Budget:

$23,000,000 (estimated)

Opening Weekend USA:

$198,535, 5 December 1999, Limited Release

Gross USA:

$10,660,147, 19 March 2000
See more on IMDbPro »

Company Credits

Production Co:

Columbia Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | SDDS

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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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

Sarah: Are you on a new book?
Maurice Bendrix: Of course.
Sarah: It's not about us, is it? The one you threatened to write?
Maurice Bendrix: A book takes a year to write. It's too hard work for revenge.
Sarah: If only you knew how little you had to revenge.
Maurice Bendrix: I'm joking. We are adults. We knew it had to end some time. Now we can have lunch and talk about your husband.
See more »

Connections

Referenced in Mike & Mike: Episode dated 20 February 2015 (2015) See more »

Soundtracks

Hurry Home
Written by Joseph Meyer, Robert D. Emmerich and Buddy Bernier
Performed by Bert Ambrose and His Orchestra (as Ambrose and His Orchestra)
Sung by Denny Dennis
Courtesy of The Decca Record Company Ltd.
Under license from The Film and TV Licensing Division of The Universal Music Group
See more »

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User Reviews

 
Curiously remote work from Jordan
5 January 2000 | by SKG-2See all my reviews

"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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