Unfaithful Review
by Robin Clifford (robin AT reelingreviews DOT com)May 21st, 2002
"Unfaithful"
Edward and Connie Sumner (Richard Gere and Diane Lane), with their son Charlie (Eric Per Sullivan), are the quintessentially happy family. They live in a rambling 19th century home in Westchester County, own a thriving armored car company and all is right with their world. Until, one windy day, when Connie is, quite literally, blown into the arms of a handsome, hunky Frenchman in Adrian Lyne's "Unfaithful."
This romantic triangle potboiler could have been mishandled and come across as tawdry in the hands of less skillful hands than Lyne's. Instead, we get a high quality romantic triangle potboiler that combines good, at times great, acting by the stars and a fascinating study in guilt.
Diane Lane gives one of her best performances to date, this time as the star instead of her usual supporting roles. Following her inadvertent collision in the streets of Soho with saucy Frenchman Paul Martel (Olivier Martinez), she is obviously attracted to the good looking charmer when he invites her in to take care of her injured knee, but resists the temptation of those soulful eyes and strong arms - though, not for long. When she gives in to the temptation of an erotic tryst, what follows is some of the tightest, on the edge acting as Connie heads home on the commuter rail. We watch the emotions wash over her as she is initially warmed by the thoughts of lovemaking, then the even stronger surge of guilt over her infidelity hits her. It is a powerful, richly emoted scene and probably the best in the film. The actress also goes out on a limb with the strong physically sexual performance opposite Martinez.
Richard Gere has moved from the young stud roles into a more mature stage in his acting career and is convincing as Edward. His marriage to Connie has been routine but happy, so when the affair begins, he is sensitive to the waning signs. Connie is distracted all the time and, as her affair intensifies, she pushes her husband away sexually. He notes that her outfits for going "in town" for her charity fundraising work include new, sexy underwear. When he catches her in a lie, he sets the wheels of investigation into motion. What Edward finds out proves too much for the man.
Olivier Martinez is the boy toy of the flick and fits the bill. He's good looking in a way that harkens back to Gere's early days and Connie's attraction to the younger man makes sense, in a seductive way. Paul is used to having his way with women and it proves his downfall. Erik Per Sullivan doesn't do anything special as the Sumner's vacuous son, Charlie, not even looking particularly cute.
The screenplay by Alvin Sargent and William Broyles, Jr. moves along at a brisk pace as Connie begins her fling, loses the sense of risk and begins to appear in public with her amour. Becoming more brazen, she even has an assignation with Paul in a restaurant bathroom while her friends chat amiably only feet away. The paths of guilt and deceit twist midway through "Unfaithful" as it becomes much more than an affair to remember, but that's enough said.
Techs are solid with cinematographer Peter Biziou utilizing tight close ups, especially during the intimate scenes, so there is a good deal of style rather than titillation. Costumes, designed by Ellen Mirojnick, are subtle but entirely suitable. Lane is dressed to the nines when seeing Paul and loose and baggy when at home with the family. Gere is decked out in frumpy attire as befits a middle-aged guy comfortable with himself and his family.
"Unfaithful" may attract a predominantly female audience but is well done and makes a good date flick for more mature young adults and beyond. I give it a B.
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