El engaño

Don't read any of the criticisms until you've seen the movie. This is a fun ride if you just sit back and enjoy the first half hour of preparation. You may feel the urge to quit watching... don't. Goldie Hawn is a wonderful character actress. You might think that the story is implausible but in N.Y. everything is possible. Keep this mind and enjoy!

I first saw this film when my children were so small that they consumed my time and energy and things went in one head and out the other. All these years, all I could remember about it was that it was one of those on my list of Movies to See When Your Kids Let You Have Your Sanity Back. That made it particularly fun to watch again recently. Goldie's character is so beautifully understated. She is just one of us, going about her day, until her life changes. You can relate each step of the way. I loved how the camera caught pieces of the truth that she did not, slowly building suspense. This calm elegance perfectly complements John Heard is at his deliciously evil best. The score works beautifully with the plot. Definitely put this on your jump-off-the-couch list.

Concerned that her husband might be having an affair, a middle aged woman begins to investigate his suspicious recent behaviour, only to discover a greater conspiracy than she could have ever imagined in this slick thriller starring Goldie Hawn and John Heard. The film is well known as Hawn's first non-comedy movie, though Heard is arguably more impressive, always seeming just a little bit menacing, even if he goes way over-the-top in his final few scenes. Whatever the case, the film's best asset is Thomas Newman's atmospheric music score, which creates a genuine sense of unease at several key points. As for the story at hand, it is not exactly first-rate. Unresolved plot points and gaps in the narrative abound; Hawn also seems to get hold of all the information she needs with unbelievable ease, whether it be a school records lady bending the rules for her or complete strangers conveniently letting her into their home. The film also overplays its hand a little by including a second unexpected deception by her husband late in the piece that only raises unanswered questions about his true motives and the way his mind operates. If one does not focus too much on story specifics though, the film could be considered a decent ride. There are some very effective chase sequences and suspense scenes in which characters are voyeuristically viewed by an unseen intruder. The novelty of having Hawn in a dramatic role cannot be discounted either. This may have not been the best script for her to highlight her potential as a drama actress, but she is certainly convincing.

Goldie Hawn has never been a favorite, I must admit, but that is all the more reason to catch her in the one performance where she is not quirky, superfluous or silly.

The theme of this story has been done before, but thanks to a fine performance by John Heard, the character of Jack Saunders is intriguing and foreboding. John Heard is an underrated actor who adds a somewhat mischievous, ominous and sometimes comical overtone to his roles (You may want to watch him in the earlier 1970's film "Chilly Scenes of Winter", and there was also a film short wherein he portrayed Fortunato, in Edgar Allen Poe's "Cask of Amontillado". He was excellent).

Look for Ashley Peldon as the young daughter; Robin Bartlett, who is underused as Heard's estranged mother, and Tom Irwin, as Hawn's colleague from the art museum. The mystery is enough to keep you watching, and overall Heard's performance makes it all worthwhile. 7/10.

Hawn, in an attempt to shed her giggling, airheaded screen persona, chose to make this rather dark thriller. In it, she plays a woman who meets a charming man (Heard) by chance and is soon married to him and enjoying a life of bliss and parenthood (to adorable imp Peldon) while dealing in ancient treasures and jewelry. One day, he finds himself in danger of incrimination for a forgery and from there, the plot takes off in hyper-unreal twists and shocks. Hawn, despite some viewers' carping that they couldn't accept her in this type of role, is excellent. She gives a fully committed, intriguing performance. Heard is also extremely effective in his part. They are both damaged by a script that is just too difficult to fully buy and riddled with plot holes. That said, the film is still quite entertaining as an experiment in audience manipulation. More than once, spine-chilling moments of surprise and terror jolt the viewer, no matter how many times they are viewed. The film is geared for audience reaction, but, unfortunately, the logic of the plot doesn't hold up. It hangs together pretty well for the longest time, then gets way out of hand and is all too typical of the thriller films of this era. There also seems to be evidence of cuts (note the billing, but virtual absence of Straight and Robertson as Hawn's parents and the sudden disappearance of underused Bartlett from the story, though she is fourth billed.) On the plus side is a sumptuous and rich-looking production design and a haunting, exceptional music score from Thomas Newman. Newman uses the lower notes that his father found so useful, but creates a modern, unique sound. Fans who can let go of Goldie's PREVIOUS image should find enjoyment in the film along with those who just like to get jolted. Fans of water-tight, intelligent mysteries are in for a let-down. Sadly, Hawn hasn't really attempted to break the mold again since this, joining people like Bill Murray ("The Razor's Edge") who have had immense trouble breaking free of preconceived notions about their area of talent.