Der Trost von Fremden

A British couple contemplating marriage (Natasha Richardson and her young, handsome paramour, played by Rupert Everett) take a vacation in Venice, to sort things out, as the Brits say. There they meet a local bar owner named Robert, played by Christopher Walken, a lyrical, dramatic fellow always going on about incidents in his childhood, his father, his grandfather, his virility and the like. His personality contrasts sharply with that of the Everett character, who is withdrawn and tentative. The Brits are strangely drawn to Robert and to his odd, sexually frank wife, played by Helen Mirren in the sort of role she apparently was born to play. But they are also at times revolted. They are vaguely aware that the Venetian couple have an unnaturally intense interest in them; the contact also seems to stimulate them, both sexually and emotionally.

No need here to go into the truly shocking denouement, beyond to say that it is what you would expect from anything in which Pinter has a hand. As always, his dialog achieves unique power through its precision and understatement. Best line -- Mirren's "I'll tell you where you are -- on the other side of the mirror." Positively chilling, positively precise.

Fine, fine acting, especially the tragic, sinister Walken, who is I think incapable of giving a bad performance -- this is probably the best I have ever seen him. Gorgeously and lushly filmed, with every scene bathed in deep colors and haunting, orchestral music. A deeply affecting film, well worth seeing.

This is the second Harold Pinter film I have seen during the Harold Pinter film festival being held at Lincoln Center in New York. I think his adaptations are great. Paul Schrader's direction in this movie was wonderful. The long shots and thoughtful portrayal of the surroundings added immensely to the overall beauty and cleverness of the film. You need to be able to get a sense of the place where the movie takes place. I believe Schrader captured Venice perfectly. When I traveled in Italy, the only place I ever felt uneasy was walking through Venice at night. Walken is a genius, regardless of what people say about him. He has the same stage presence as a Brando, Dean or Steiger. He embodies his character. I would recommend anyone to see this film and am encouraging my 30 yr old son who is an aspiring actor to see it and learn from the masters!

So much is written in Hollywood about a character's ‘redemptive arc'-it is rare that anything redemptive crosses our path in a Paul Schrader movie, and we wouldn't want it any other way.

Let's talk about real life, life ala Schrader and Pinter---rarely redemptive, where a dismantled woman (Natasha Richardson) in her late twenties, divorced, burdened with child and confusion, looking ahead to 40 years of loneliness, seeks solace in one of the few options left available to her: the younger, good-looking, yet far too effeminate suitor (Rupert Everett).

Their pairing, unsettling at most every juncture, can only be upstaged by a spectacular Chris Walken performance as Robert, a predator of confusing lineage who smells blood in the water faster than OJ can smell the first tee.

It is the character Robert on whom the SNL parody `The Continental' is likely based, and Walken plays him so flawlessly that we may sometimes believe he has something but the basest on his mind, which of course, he has not.

Helen Mirren is perfect as Robert's co-dependent compadre.

Ignorance is never bliss in this day and age, and our story of a young couple indeed destined to suffer the consequences of their needless existence twists and turns tautly in their ill-timed venture to Venice.

Looking for fun? Next time, kids, try Disneyland.

"The Comfort of Strangers" sounds superb on paper. Ian McEwan's brilliantly devastating and profoundly disturbing novella adapted by the genius that is Harold Pinter, directed by the excellent Paul Schrader, scored by Angelo Badalamenti, and starring what is essentially a dream cast absolutely perfect for the material. Yet it has a mediocre reputation at best so when I settled down for the viewing I was hopeful but had low expectations.

Pinter and Schrader handled two things poorly here- the ending, and the introduction of Christopher Walken's character, Robert. I'm not usually too concerned with faithfulness to the source material but what McEwan did with both aspects in the novella definitely did not require any sort of alteration. McEwan plays with the comfort level of the audience and characters more than Pinter does, causing the story to be even more sinister and disturbing as it develops. Pinter begins the film with a voice-over narration by Robert and we see Robert in flashes well before meets Colin and Mary and takes them to his bar. In short, we are told explicitly that Robert is a villain from the opening of the film, and Pinter also lets him take a bit too much screen time away from Colin and Mary. Walken is excellent in the role, however. The ending, while disturbing and unforgettable in the novella, is a predictable and simple conclusion on film. There's also one or two things that happened during the climactic scene that don't make sense at all within the narrative of the film and which did make sense in McEwan's book. Another questionable alteration.

Other than those faults "The Comfort of Strangers" is an absolutely tremendous and amazingly involving film with a brilliant script by Pinter which allows for more nuanced characters and a different approach than McEwan's novella featured, and superb work by Paul Schrader as director, who uses Venice brilliantly her to create mood and ambiance and certainly shoots the film very, very well, with one scene, where Robert is discussing his relationship with his father and sisters with Colin and Mary in the bar which is shot stunningly well. I won't give away Schrader's use of imagery here but it is such a well-crafted scene that the version in my head of the scene seemed terrible in comparison. The film is also shot exceptionally well by Dante Spinotti, a quality cinematographer famed for his work on films like "Heat" and "L.A. Confidential" among others.

Complimenting Schrader's work, which is probably his most impressive outside "Mishima: A Life in Four Chapters", and at times superior to that, is one of Angelo Badalamenti's most memorable and distinctive scores. I actually had Rupert Everett in mind for Colin well before I even knew this film existed and he didn't disappoint at all in the role. Natasha Richardson was out of left field for me but the casting worked spectacularly well here, and it goes without saying that Helen Mirren is superb as Robert's wife Caroline. Mirren's Canadian accent is spot-on as well.

"The Comfort of Strangers" is significantly less heady than its prose version, choosing to function as a thriller with some thematic preoccupations instead. What is surprising about this film is just how well it works as a thriller. The novella thrives on an atmosphere of tense, sinister unease but much of that is derived from Colin and Mary's relationship rather than any plot mechanics. This film is more a traditional thriller but it is tremendously tense, involving, and exciting from start to finish. A quality film, one of Schrader's best as director and some of Pinter's finest film work.

9/10

This Paul Shrader movie is a 'must see' for anyone who's enjoyed 'Don't look now' by Nicholas Roeg. Once again we're back in Venice where decadence, decay and danger seem to lurk in every ill-lit corner. Just barely hiding from our eyes, but omni-present in the atmosphere.

We see Colin and Mary, a not-so-young and not-so-happy couple that have come back to Venice to decide whether or not to continue their relationship. The only plausible question to that answer seems to be a sound NO, until they meet Robert and Helen, an older couple living in a palazzo at the Grand Canal. Robert and Helen are weird, to say the least. Their marriage being a perverted mixture of violence and lust. Robert (Christopher Walken) could be a character from a James Purdy novel: a closeted mucho macho gay man who can only satisfy his need to be physically close to another man through violence. Masochistic Helen is not at all the victim she seems to be.

But who are the real perverts here? The clearly kinky older couple or their younger 'friends', that can't seem to stop having sex after their unsettling encounters? No need to tell that there can be no happy ending to this tale.

The Comfort of Strangers is a work of art. The chilling atmosphere is tangible, the characters are very convincing, the dialogue by Harold Pinter is multi-layered and the plot is slowly moving to its inevitable conclusion without the interference of a weak-hearted writer.

It makes you think about the million different methods people use to keep their lovelives alive. The movie also is a very brutal way of saying that nothing in life comes for free. By exaggerating the price Colin and Mary have to pay, Shrader seems to make us want to think about the more ordinary prices we pay in matters of fidelity, lust and love.