Jogo Mortal

Sleuth is based on an outstanding stage play by Anthony Shaffer. Sometimes, a work which succeeded on the stage doesn't transfer well to the big screen. Movies like Equus and Dangerous Corner - which were a delight in theatres - lose their power under the close scrutiny of a film camera. Sleuth is not a failure. It retains its stagebound plot, characters and dialogue, but somehow manages to be totally engrossing as well.

Part of the joy is due to Laurence Olivier and Michael Caine. The two giants of Britsh acting don't chew the scenery in an attempt to out-shine each other; they complement each other quite brilliantly and turn in two of the finest screen performances you could ever aspire to see. Olivier plays elderly author Andrew Wyke, an obscenely wealthy, well-educated and devious man. Caine is Milo Tindle, a charming, ever-polite young hairdresser. Milo visits Andrew to ask for his blessing in marrying his estranged wife. Although Andrew seems fairly open to the idea of giving away his wife (after all, they despise each other) he still feels stung by her exit, so he engineers a cruel game to humiliate Milo. But who is playing a trick on who?

The dialogue is terrific, but it needed terrific actors to get the best out of it. Caine and Oloivier do a fine job. Ken Adams' set design turns Olivier's gorgeous palatial house into a dazzling mansion of madness. The tinkly music by John Addison creates a playful yet ever-so-slightly uncomfortable mood. Joseph L. Mankiewicz directs perfectly, getting maximum suspense from his staging of scenes and thoughtful choice of camera angles. The twists are superbly disguised, especially the awesome "shock" climax which will blow you away. See Sleuth - it's one of the best!

My parents saw "Sleuth" on Broadway, during its original run, just a year or so before this film was released. Watching the movie I can see how it would make a good play, but by the same token, it is not a translation that feels slow, or wordy, or unsuited to the screen. The adaptation is excellent, without "opening up" the play too much. If you're a fan of mysteries, you'll be intrigued by the performances and the script. Joseph Mankiewicz's direction isn't terribly flashy, but subtle and well-done.

Laurence Olivier stars as Andrew Wyke, a famous mystery novel writer. Milo Tindle (Michael Cane), comes to visit him one weekend; asking for Andrew's wife's hand in marriage. But things aren't as simple as they first appear. Andrew wants something in return from Milo. And then again, maybe he doesn't.

The film unfolds slowly and patiently; you almost feel like the film's sentient and realizes how juicy its secrets are, holding on to them for as long as possible. There are numerous twists and surprises in the film; and even if you see one or two coming (as I did), don't expect to get it all right until it's over. It's best not to know at all what is going to happen, so I'll leave you with no more clues.

I enjoyed nearly every moment after the initial meeting between Milo and Andrew. Once Cane and Olivier really get going in their scenes, the film never looks back. They are exceptional in their performances, and deservedly earned nominations for Best Actor Oscars.

So who wins? Does anyone win? Is it a game with a winner at all? Oh just go rent it already!

A very entertaining "thriller" about a wealthy mystery novelist named Andrew Wyke (Olivier), who invites Milo Tindle (Caine) - working-class owner of a chain of hair salons - to his sixteenth-century mansion to discuss Milo's affair with Wyke's wife. Instead of being angry, he seems to be delighted and proposes an ingenious robbery scheme that will benefit both men. Soon, the two men find themselves locked in an ingenious and devious duel, but who gets the last laugh on whom?

With the right ingredients film-making can seem so easy. The cast consists of just two actors, Laurence Olivier and Michael Caine, but with these heavyweights, it's hard to go wrong. Playwright Anthony Shaffer (FRENZY, THE WICKER MAN) wrote a brilliantly ingenious script with crackling dialog, and veteran director Joseph L. Mankiewicz (A LETTER TO THREE WIVES, ALL ABOUT EVE), who knows all the cinematic tricks and has an uncanny aye for detail, manages to avoid this "play" from becoming static in any way. It was to be his last film, and what a grand way to say goodbye to cinema. A real treat from start to finish. Highly recommended!

Camera Obscura --- 10/10

One man is a famed mystery novelist, Andrew Wyke, the other is a braggadocios young businessman named Milo Tindle. One day, they meet in the writer's automaton and game filled manor house (that assuredly directly inspired the mansion in 'Knives Out'). They have nothing in common- except for the writer's wife, that is. Tindle is her lover, and both men want her for themselves. The writer has a cunning plan as Machiavellian as some of his plots to ensure the businessman winds up with nothing before the day is out. Tindle, though, has a plan of his own; and a fiendish battle of wits and wills ensues.

Based on Anthony Schaffer's Tony-winning play that originally starred Anthony Quayle and Keith Baxter as novelist and businessman respectively, this adaptation features Laurence Olivier and Michael Caine in their places, and is a highlight in the careers of both men. Schaffer's screenplay is full of vicious verbal barbs as Wyke and Tindle have a sparring match full of twists, turns and double-crosses. Their battle of wits becomes a battle of class, and the story is as unpredictable as it is clever.

Olivier's mixed feelings towards his place in cinema is well documented, and often his on-screen performances seem very mannered and actorly- over the top even. As the pompous, old- fashioned Wyke, however, the overly theatrical streak doesn't seem out of place. He is a classist, racist good ol' boy of the English aristocracy, and Olivier plays him brilliantly. In the latter half of his career, he took film roles for the money and was quite open about it. Here, however, you can see he relishes playing Wyke and is having a ball speaking Schaffer's fantastic lines.

Caine- one of history's most natural screen actors- is terrific as the cocky businessman Tindle. His performance is one of much depth, he plays Tindle like a working-class tinderbox ready to ignite the moment anyone mentions his accent. His disrespect for Wyke clouds his judgement, and he can't see when he's being played by the old man. Whereas Olivier is formal and exact, Caine is like a jazz musician, going this way and that with the rhythm; and his is arguably the better performance.

As an aside, in 2007, Caine starred as Wyke in Kenneth Branagh's remake, written by Harold Pinter. While the film isn't as good, it's interesting to see him play both characters; and in both he overshadows his screen partner.

This could very well be one of- if not the- best adaptations of a play ever put to film. It is beautifully photographed by Oswald Morris, who also served as cinematographer for the screen versions of 'Oliver' and 'Fiddler on the Roof'- he clearly understood how to adapt theatre for the screen.

The stirring, John Addison score signifies mystery and intrigue like few others have done before or since, and the set design is remarkably detailed and rich. Wyke's manor is so full of memorabilia, knick knacks and automata it makes the Thrombey mansion from the overrated 'Knives Out' look positively sparse.

Terrific performances from two fine actors, crisp cinematography, tight direction from Joseph L Mankiewicz, incredible set design and a brilliant, complex Anthony Schaffer screenplay- what more could you ask for? This two-hander whodunnit is fiendishly good.

To me, "Sleuth" is a demonstration of the problem with the Oscars (certainly a problem in 1972, and perhaps now also). The problem was that, even before the casting was done for the film of Mario Puzo's "The Godfather," everyone knew that whoever played the leading role was going to receive the Best Actor Oscar, irrespective of the performance. To rate Brando's performance above the performances of Caine and Olivier that year is nothing short of ludicrous. All I can say is thank God that at least Joel Grey received the best support Oscar for "Cabaret" that year.

I first saw Anthony Schaffer's play on the London stage about two years prior to the release of the movie. The leading roles were taken by Paul Rogers and Donal Donnelly, two fine English actors who were superb in these parts. I remember thinking what a difficult thing it would be to make a film of this, but I was sure that someone would try it and make a mess of it. How wrong I was!

I note that "Sleuth" comes up as #250 in the IMDB top 250. I recently selected my top 100 and it comes up at #55. This is a magnificent movie that keeps one on the edge of the seat for its entire length. The performances of the two leads as they play the same game a number of times is stunning. Here is the man acknowledged as perhaps the greatest actor of the 20th century, and here is the Cockney up-start Caine (famous for his "kitchen-sink" roles such as in "Alfie") matching him at every turn and often soaring above him.

But in saying all this, I need to put in a plug for perhaps the finest supporting performances ever delivered. Alec Cawthorne, a man few have heard of outside "Sleuth," is mesmerising as Doppler, while John Matthews and Eve Channing, although having very minor parts, imbue every nuance of their performances with ethereal splendour.