by rick grant rickgrant01@comcast.net
A- Rated R 86 min
This updated version of Harold Pinter’s 1972 screenplay features virtuoso performances from Michael Caine as Andrew Wyke and Jude Law as Milo Trindle. Director Kenneth Branagh made every effort to modernize the setting to make it more interesting by having Caine and Law face-off in a high tech house with motion activated video cameras, special lighting, and false walls that opened at the touch of a button. Wyke’s monumental ego is symbolized by his large wall-sized poster of his accomplishments, and even a rack of his books translated into many different languages. The point is–Wyke is filthy rich, self absorbed, and used to getting his own way.
Along comes out-of-work actor Milo Trindle who is having a torrid affair with Wyke’s wife. He boldly visits Wyke to plead with him to divorce his wife so he can marry her. But Wyke offers Trindle an outrageous alternative plan for him to make a bundle of money and abandon Wyke’s wife. His proposal involves Trindle breaking into Wyke’s house and stealing his jewelry, worth almost a million pounds. Wyke will then take the jewelry to a fence who will give him cash, and Wyke will get compensated by the insurance money. Of course, Trindle is dubious of Wyke’s plan, but agrees to go through with it as his greed kicks in. And, he’s thinking that he can somehow get the money and still end up with Wyke’s wife.
The dialogue-driven script challenges Caine and Law’s acting skill in this game of wits. In the 1972 version, Caine played Trindle and Lawrence Olivier portrayed Wyke. Now, Caine turns Wyke into a scheming lonely old man who is out to humiliate Trindle for stealing his wife. As it turns out, Trindle is a worthy adversary as he takes the bait and proceeds with the burglary. Of course, Wyke doesn’t intend to fulfill his promise to give Trindle the jewelry. He changes the rules of the game in a sinister scheme to leave Trindle a trembling heap of fear.
The way the script is written, it leaves out an important scene’s conclusion, which instills doubt in the viewer’s mind whether Trindle is dead or alive. The next scene is the arrival of a Scotland Yard inspector investigating the disappearance of Milo Trindle. Wyke pretends not to know the man. Ah, but the inspector knows that is a lie, because he has in his possession a note from Wyke to Trindle giving Trindle directions to his house. Once Wyke realizes that the inspector knows that Trindle was at his house, he confesses that yes, Trindle was there and they played a game, but Trindle was alive when he left his house.
The inspector believes Wyke murdered Trindle and buried his body. This segment goes down an entirely different path, which is a complete surprise to the viewer–or is it? In this story, things are never what they seem.
Branagh uses some clever shooting techniques to enhance his mosaic, making the action more interesting and pumping up the suspense. The technically advanced house is played as another character. It seems alive, as walls open revealing different parts of the structure, while the video cameras are recording everything that happens, creating infinite mirror effects. Wyke walks around with a tiny remote that initiates the house’s many technical features. Banks of stage lighting in the ceiling can change the mood of a room with a click of the remote. This adds another dimension to the characters’ mind duel.
What drives home the story is the exemplary acting of Caine and Law, who are able to use their experience and talent to their fullest extent. In one remarkable scene, Law’s subtle body language and facial expressions gradually change his maleness into female affections in a natural manner. It was brilliant acting.
This film is for art film devotees who appreciate quality acting to a well written script driven by character development and dialogue.
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EU Critic’s Choice Awards
