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Neil Jordan's new flick THE END OF THE AFFAIR is our reviewer's
FATHER GEEK here with a look at THE END OF THE AFFAIR a new drama from the always interestingly Irish Neil Jordan. I love this director's work and BUTCHER BOY was in my Top 10 list for last year. I'm expecting great things from this his latest effort also...
If I'm gonna shell out the bucks to see repressed Brits moan over their Earl Grey about
life and love, there had better be a damn good reason and, in the case of
TEOTA, there was: Neil Jordan.
How can I describe my affinity for this man? He makes films the films that
aspire me to be a filmmaker. From "Mona Lisa" to "The Butcher Boy," Jordan
has both written and directed films that lure and seduce and audience until
they think they know what's going to happen, then pulls the rug right out
from them. If there is a linking thread between Jordan's films (not
including early stuff he did for the money -- "High Spirits") it's the
simple idea that everybody has secrets and when they're revealed, look out
because everything you thought you knew about these people no longer applies
and the drama intensifies a thousand fold.
I don't want to tell you the secret of TEOTA, just know that it's a doosie.
I know that this sight is famous for it's spoilers, but as Slim Pickens said
to the Japs in "1941," "You ain't gettin' shit out of me." But I wouldn't
leave you with nothin', so here's my review:
Plot -- The film has one of the best opening lines I've ever heard, "This is
a diary of hate." I love that!!! Everybody in the audience waiting for this
romantic love story and this just throws them right off the bat. Brilliant!
The film begins on a rainy night in London, 1946. Maurice Bendricks (Ralph
Fiennes) has a chance encounter with Henry Miles (Stephen Rea), the husband
of Sarah (Julianne Moore) with whom Maurice had an affair two-years
previous. Maurice takes Henry home and runs into Sarah. He says nothing to
her, he doesn't have to. We see that Maurice is still obsessed with Sarah
and offers Henry to arrange to have her followed by a private detective to
find out who she's been seeing on those long afternoon walks she now
takes...
That's all I can say without giving away the secret.
Acting -- Ralph Fiennes is at his BEST EVER. Forget "The English Patient."
Forget "Quiz Show." Definitely forget "The Avengers." This Ralph's best
since his introduction to the American audience in "Shindler's List." The
man can do more in a scene without saying a word than most actors can pull
off in a whole movie. His intensity, his charm, his ass, ladies, you get
them all in this film. (More about the butt shot later.)
Julianne Moore can do no wrong. Even in crap films, she comes off looking
good. It's not hard to believe that she has wrecked the two main male
characters lives in this film. The woman glows. But looks are only half the
package, like the greatest film actresses (Hepburn, Harlow, Streep), Moore
combines beauty with brains. I'd venture to say she is the best actress
working in film today and TEOTA cements it.
And what Jordan film be complete without Stephan Rea. While not the lead in
this film or a particularly commendable character, his ability to play a
role, any role, is a treasure in itself. In addition, it's nice to see Ian
Hart, most remembered for playing John Lennon in "Backbeat," come into his
own as an adult actor.
Production Design, Art Direction, Cinematography, Costumes -- Gorgeous.
Gorgeous. Gorgeous. TEOTA is the rare film that looks like a classic upon
its initial viewing. London during World War II never looked better.
Particular kudos to Sandy Powell for costumes and Julianne Moore's jewelry.
Music -- Michael Nyman hasn't done many film scores ("The Piano," "Gattaca,"
"Carrington," Peter Greenway's films), which is probably why his music is so
original. His music, masterpieces on their own, so perfectly underscores the
emotions carried out on screen. Evocative, emotional and powerful.
Writing and Directing -- Neil Jordan is in a class all his own. His
precision in what he wants and does not want to reveal in any particular
scene is almost Hitchcockian. His skills at adapting rich, complex
literature rivals that of Horton Foote and Steven Zailian. He is a master at
the top of his craft and I cannot wait for anything he does next.
Now, back to that Ralph's butt. I bring this up because I find it refreshing
to see love scenes in a non-traditional way. We all know how sex is supposed
to go down on screen in the male-dominated Hollywood machine... Man kisses
woman. Man proceeds to remove woman's shirt. Woman removes man's shirt. Man
removes woman's bra and skirt. Cut to tight shot of man and woman in bed
doing the hippity-dippity. Blah. Blah. Blah.
How sexy and absorbing it was to see Ralph and Julianne so hot for each
other that they only disrobe the absolute minimum amount to get it on. No
foreplay. No extensive kissing sequence. Just a lift off the skirt and a
drop of the skivvies and ba-da-bing. Now that's attraction.
Sitting on the aisle,
Janestreeter
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+ Expand All
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Dec 07, 1999 11:52:49 AM CST
I Doubt It'll Be Better Than Costner's FOR LOVE OF THE AFFAIR
by mrbeaks
I'm being a jackass, but the correct title is THE END OF THE AFFAIR.
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Best film of 1998, without a doubt. And that kid, Eamon Owens, should have won an oscar for Best Actor. The color is the best use of color since "Blue Velvet," and the script is dark and disturbing, without having to resort to much violence.
Kevin Costner could never ACT. Forget it. This new Neil Jordan film will KICK ASS! -
Hey, I was only joking about Costner. As for THE BUTCHER BOY: great film. The scene where the priest has Eamon wearing a bonnet and licking a lolly is classic! Yeah, he should've definitely been nominated (in place of Hanks, who was good but not revelatory.)
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I'm a big Michael Collins fan myself. I know there were inaccuracies, but what can I say, I love Allan Rickman. Plus Jordan's continued use of Stephen Rea is admirable. Did anyone see Guinevere? Very good film with great performances by Rea and Sarah Polley. I liked The Butcher Boy, too, but best film of '98? I don't think so, that would be Gods and Monsters, but that's just one man's opinion.
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just that the film was about Brits ...
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He's Irish, not British, although he does use British crews. It makes me laugh when I hear Americans call us repressed. I was in San Franscisco last month, the so called liberal capital of America. Many Americans (particularly the white ones) are so sexually frigid, repressed and hypocritical. I was shocked. There are sex shops on the corner of every sleazy neighborhood, yet politicians are still acting like sex is a disgusting blight on society. You guy's should come to Europe and loosen up. I blame the pilgrim fathers.
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I'm not especially familiar with Nyman (The Piano and Gattaca are about the extent of my knowledge of him), but how can you put down Williams like that? John Williams is not anyone's Backstreet Boy! Whether or not you liked the Episode I soundtrack (which I did -- especially Dual of the Fates and Anakin's Theme), how can you deny the quality of his work on Schindler's List, Star Wars, Empire, Raiders, etc. The entire stretch from the Battle of Hoth through The Asteroid Field (*my* theme song) is symphonic mastery with no equal.
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Without resorting to nutty, angry patriotism, can anyone explain to me the reasoning behind the comment that Irish is not British? I mean this as a reasonable request - I always thought that 'British' covered the British Isles - that is the islands of Ireland, the Hebrides, Man etc. as well as the land mass - usually called Britain - that contains Scotland, Wales and England. Or is Ireland excluded in this term? Is there a political slant to this that is irrespective of correct geographical terminology? ie. a need for Ireland to be seen as distanced from the Queen/England etc? Come to think of it what is the current state of what the Queen 'rules' - and, man, do I use that term loosely. Is it England, Britain (including Scotland and Wales), the British Isles or the Commonwealth? Or all four or bits thereof? And what, then, are the the differences between British Isles, Britain and being British? I guess I am just curious about the semantics and geographic facts here. For those curious, I am English/Irish/Scots/Dutch. That about covers it, eh?
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Ireland is not a part of Great Britain. Though Northern Ireland on the same island is. Great Britain is England, Wales, Scotland and Northern Ireland. It's really that simple.
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From an ethnic point of view, the Irish ARE British, as are the Scots and the Welsh.The British - a Celtic group - were the original inhabitants of the islands, while the English are later coming, northern Germanic people. But you all know that.
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I thought the trailer was pretty boring, though. Still, it didn't give anything away, unlike most other trailers these days. I must be spoilt.
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No offense to Harry & Father Geek, but where is all the cool news? ie, news about genre pics or at least something with pseudo-geek-appeal (eg, Anna & the King)?
The X-Men stuff is basically the only real "cool" news for the last few updates. What happened to all the cool inside shit on geeked out movies? Maybe Harry has watched so much genre stuff he's bored with it? Remember, not everybody has the time to watch dozens of flicks per week! (hope that didn't come off like a slam, just making a point). -
Pay attention ignorants, you might learn something useful. Northern Ireland (and certainly Ireland i.e Eire) is not part of Great Britain. That is England, Wales and Scotland, plus channel islands. We are the United Kingdom of Great Britain and Northern Ireland. Also while Scotland, Wales and Northern Ireland are noe devolved, nothing (i.e independence) has happen to change that overall picture. So to answer everybodys basic confusion Neil Jordan is Irish not British (nobody can be both!!)
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Thank you for clearing that one up Major. Perhaps you'd like to join me in the drawing room for glass of port and a brief discussion on the merits of carpet bombing Germany.
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... I was talking about geography and ethnic groups, not politics. Politically, sure - Jordan is a citizen of Eire, which is a sovereign nation and not a part of Great Britain, AKA The United Kingdom, also a sovereign nation. Geographically, however, he's from one of the British Islands (a group of islands in northwestern Europe) - specifically, the one commonly named Ireland. And ethnically, he's Irish - one of the British races. The British are one of the western branches of the great Celtic race, the original inhabitants of said islands. So technically - not politically - Neil Jordan is in fact a Brit. All clear? (God, I hate working nights).
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Gosh! What a palaver! Still, here is a really long post with a final point which I came across recently and which might be of interest to some of the previous posters. First up, though, it's nice to know that I am clearly not entirely alone over confusion re the lexicon used to describe inhabitants of the British Isles
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Why is everyone arguing over petty things instead of discussing Ralph? God. What a hot piece of English ass. Okay. I'm done.
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I stand corrected. With MY family heritage (Lithuania to The U.S. to Israel, all in one century) I should be more aware of the subtleties of heritage.
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What were we talking about?
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I loved the hard rain. I loved the war only taking place on one house in one street. I loved the way he photographs Julianne Moore. For the ladies there's Ralph's butt. Stephen Rea was suitably dour. It's obviously a tragedy will cosy live-in arrangements. It was good to see Clapham Common again. And the trip to Brighton was a nice opening up of the story. But as good as it was, it left an empty ring to it. I'm not sure why.
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oh, and I almost forgot. The music was great. I wanted to buy the score immediately.
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OK, let's clear this up. Historically, we aren't British, we are Celtic and Gaelic. The British also have a (separate) Celtic heritage, and the Scots are descended from the Irish settlers in Scotland, but we are a nation apart. (I study history, so I can assure you of that!) And 'the British Isles' do not include Ireland. It is a political rather than a geographical term. Right. As for 'Michael Collins', it was utterly offensive. From my intensive study of the period I have concluded that Eamon de Valera was Not, repeat Not, responisble for the outbreak of the Civil War. Although you don't normally hear it said, Collins & Griffith probably conspired with Lloyd George to engineer the whole 'war threat' situation and force the treaty on the other delegates and on the Dail. And Collins was, from then on, a puppet of the British and started the Civil War on their behest. Alan Rickman's melodramatics were almost laughable, and the film made no sense at all. The only good bit was the scene with the storming of the Four Courts. I heard that audiences in New York jeered the film openly when it played there.
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