Le due facce del male

British middle-agers with a handicapped daughter invite into their home a strange young man who holds a curious power over the family. Sting (vocalist and bassist with The Police) gives a commendable performance--his first lead--in this Dennis Potter concoction based upon the writer's own play (originally taped--and banned--by the BBC). Writing like a mischievous child, and aiming for lofty subtext and ironic turns of the screw, Potter doesn't always get the affects he's aiming for, but neither does he disappoint. Director Richard Loncraine doesn't struggle too noticeably getting this peculiar material off the dime (and out from the main set), while his build-up to the foregone conclusion is rife with interesting, twisted bits of business. Not a barn-burner by any means, but a handsome, calculated work in a minor, if derivative key. **1/2 from ****

This film was never around much at the time of it's release dispite some good word of mouth. It is pretty well brought off in every way, but leaves one feeling one has seen a rather more obvious version of Pinter with then trendy rock and an even more pronouced lack of point.

Sting holds his own surprisingly well with his classy co-stars.. It's Potter's heavy handed irony, admittedly popular, that just tires you out.

A middle class commuter belt couple Mr Bates (Denholm Elliot) and Mrs Bates (Joan Plowright) are duped into taking a charming young man Martin(Sting)into their house to help care for their catatonic daughter (Suzanna Hamilton). Martin claims to have been close to their daughter before an accident left her unable to communicate. As the film progresses the couple mistakenly start to trust Martin and dark family secrets are revealed.

Originally a stage play written by Dennis Potter the film is in turn engrossing, disturbing and claustrophobic. Denholm Elliot is as ever brilliant as the lonely and disturbed father figure, Sting puts in a good performance as a strange and demonic young man, Joan Plowright is very good as the maternal and naive housewife.

The two slight let downs for me were the music which I did'nt feel fitted in well with the film and the main fantasy sequence which did'nt stand the test of time well.

Other than that the film held my attention throughout, the direction by Richard Loncraine was extremely capable, all in all an intriguing and idiosyncratic piece which is well worth a watch.

I saw this when it was fresh on video and it is weird. Like TRACK 29 by Nicolas Roeg is weird. Both films have screenplays by the irrepressibly strange (God bless him) Dennis Potter; This one has 2 heavyweights of the British theater, Denholm Elliot and Joan Plowright, and a thoroughly convincing STING as ...what? An evil sprite? The devil himself? watch it and try to come to your own conclusion; that is the pleasure of this odd little gem.

Richard Loncraine has style to burn and he fills the screen with expertly crafted compositions and he has a nice tendency to use slightly wide-angle lenses to make everyday objects take on a malevolent aspect; he knows how to shoot STING, in order to make him look sinister, that is for sure. Bravo.

Over the years I have shown this to many different people and it always captivates them and holds their attention from the first frame to the last. I would have to say this is my favorite of anything Dennis Potter has written to hit the cinema screens,so far. He is a difficult artist do do justice to, but BRIMSTONE & TREACLE delivers the goods,in spades. Its darkly funny and also thoroughly squirm-inducing in places. The acting is all first rate; Denholm Elliot is magnificent as the repressed and domineering husband; he projects a marvelous sense of twitchy hostility and discomfort; watching him agonize is one of the films strange pleasures. And Sting is fantastic. I think a lot of people here on the IMDb are being unfair to him because of his pop stardom, but I think he delivers an excellent performance, full of sly menace and sinister charm.

The film is re-make of a television play which the BBC chose not to transmit because of its controversial subject matter, in particular the final sequence of rape. This version which received a cinema release, appeared 6 years later, and included one member of the original cast, Denholm Elliot.

The central role of Martin was re-cast with Sting (then lead singer with The Police) who also provided music material, including his first solo single Spread A Little Happiness. (Michael Nyman also provided soundtrack material.)

The script remains largely faithful to the original screenplay, though several minutes of discourse in one of the final scenes is excised completely. This is a discussion of racism which provokes Mr Bates to retract from his outspoken racist views.

The original TV play is set mostly within the confines of a living room, while the

bigger-budget movie is less restricted, and has a Gothic, sinister atmosphere. References to Martin's diabolical nature are more subtle too – the TV play shows Martin with hairy, clawed feet. The closing scene of the film suggests that Martin may have been caught out (by an angel – or devil?), while the TV play implies that his actions within the Bates household are just one of many continuing abuses on a never-ending cycle.