Sleuth Review
by [email protected] (dnb AT dca DOT net)November 6th, 2007
SLEUTH (2007)
A film review by David N. Butterworth
Copyright 2007 David N. Butterworth
** (out of ****)
The original "Sleuth" (1972) is one of cinema's classiest thrillers, a deadly cat-and-mouse game, set, and match between an obscenely wealthy crime novelist, Andrew Wyke (Laurence Olivier) and a charming English-Italian hairdresser, Milo Tindle (Michael Caine), both of whom are in love with Wyke's wife Marguerite. It was written by Anthony Shaffer (who adapted his stage play for the screen) and directed by the veteran Joseph L. Mankiewicz. With its twists and turns, clever casting, and "shock" denouement, "Sleuth" is one of those movies that's extremely hard to review without giving away too much.
Which is also true of the recently released Kenneth Branagh remake. Plus there's an added complication: does one assume the reader/viewer has seen the original, and are therefore privy to the screenplay's "secrets"? (Branagh certainly does: just check out the opening credits for starters.)
For the sake of this review I'll assume you *have* seen the original version (and/or seen the play) so that I'm in a better position to discuss the differences (and possible similarities) between the two films. Suffice it to say some SPOILERS FOLLOW so stop reading now if you want to see the new film with fresh, unsullied eyes.
"Sleuth" (2007) certainly has some clout behind it, some heavy (i.e., talented) testosterone-laden clout. CAINE. LAW. BRANAGH. PINTER. You have to look hard to find the film's title on the poster art! Casting Michael Caine in the role of Andrew Wyke was a smart and elegant move (he's terrific); casting Jude Law as Milo Tindle less so. Olivier and Caine worked off each other beautifully but here Caine shows Law why he's still working after 50 years in the business. Caine's in the driver's seat and you suspect Law knows it. The opening segment is the best, with Caine and Law going at the revenge stuff pricelessly. But when Tindle disappears and the police inspector shows up, matters become a little more obvious. And the concluding segment quickly descends into silliness.
Harold Pinter's updated script is (mostly) crafty and clever as it should be. I didn't have too many problems with it save for its length. The 1972 film is 138 minutes and feels just right. The new version is only 86 minutes and doesn't. When Tindle turns the tables on Wyke the writer's breakdown happens too quickly. Not enough time passes for the characters to do what--or react how--they do. The overall feel is that of a rushed job.
Director Branagh, normally entrusted with takes on Shakespeare, employs grinning close-ups of his stars, often nose-to-nose, and creative camera angles. The set, Wyke's high-tech country estate, is as much a character as its occupants, with its closed-circuit television cameras in every room, overhead theatrical lighting, and emphasis on chrome and glass. It's an art director's dream project, that's for sure.
But it's an unnecessary dream project. Branagh may have twice proved he can remake Olivier's good ones (see: "Henry V," "Hamlet") but with "Sleuth" it's a case of third time unlucky.
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David N. Butterworth
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Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
