Infidelidade

There is no such thing as an indifferent movie directed by Adrian Lyne. You'll either love it or hate it.

I liked "Fatal Attraction" though I prefer the original ending, not the revised, way-over-the-top, grade B shock ending. I was not impressed with his other hit "Flashdance". (I've chosen not to see "9 1/2 Weeks" and "Indecent Proposal" for various reasons.)

Many viewers have said that "Unfaithful" is simply a role reversal of Lyne's earlier hit "Fatal Attraction". It might be accurate but I don't think it's totally a fair comparison.

I felt that the affair between Connie Sumner (Diane Lane) and Paul Martel (Olivier Martinez) was just a basic physical attraction. It was a need that, for some reason, was not met with her husband. At the same time, the affair became more of an addiction for Connie. There's no love at all in that relationship. There is love between Connie and Edward (Richard Gere) but from what is presented on the screen, their love is on low tide. They certainly took each other for granted.

What impressed me the most about "Unfaithful" was that director Lyne and screenwriters Alvin Sargent & William Broyles, Jr. (adapted from Claude Chabrol's "La Femme Infidèle") did not shy away from the consequences of having an affair. There was no easy out for Connie and Edward and no tidy endings.

Gere was O.K. That's not to say he was bad. He didn't impress me very much. It was odd but rather interesting to see him play this rather drab, nerdy character. Something to consider: if the movie was remade in the late 70s or early 80s, Gere definitely would've played the other man.

I was angry at Connie for having an affair and betraying her family. I also felt some sympathy toward her: She was not a bad person. She's basically a good person who made some very bad choices.

One sequence that stood out for me (and apparently for many others) was when Connie is on the commuter train heading back home after her second encounter with Paul. Her facial expressions are so subtle but also tells more about what's going on with her with no dialog. The reactions range from excitement to anger to resignation to fear.

(In the Special Features section of the DVD, check out the interview with veteran film editor Anne V. Coates. She brings an interesting perspective on how she was able to edit the sequence.)

Diane Lane has received many well-deserved accolades for her performance. It's perhaps her best adult performance in her career which started in 1979 when she was just 14 in the wonderful comedy/drama "A Little Romance".

"Unfaithful" has a few weaknesses but luckily they are overshadowed by the film's many strengths, especially Diane Lane.

First off, I was quite surprised to see the cinema so full for this movie, even on opening weekend. I guess not that many movies for women in their 30's plus exist these days!

I expected this movie, as I'm sure many people did, to be a Fatal Attraction but with the genders switched around.

I was pleasantly surprised and shocked by it NOT being what I expected, and I definitely enjoyed it alot more than Fatal Attraction.

The summary of this movie is that Diane Lane's character starts cheating on her husband (Richard Gere) with a beautiful French man(Olivier Martinez). Everything else should be left for surprise.

The pacing of this movie is perfect. We got a sense of Connie and Edward's home life before she met the dashing Paul. They have a darling son, Charlie, who adds alot of humour to the movie, but in a non precocious way. After the affair starts we see Connie's feelings range from excitement to complete disgust with herself. And of course Edward inevitably finds out. His reaction is interesting, to say the least, and perhaps very honest.

The acting is great, especially from Diane Lane. The sex scenes are pretty raunchy, and made me uncomfortable at certain points, but it's interesting to see how different sex with the lover and sex with the husband were.

At the end of this movie I didn't feel cheated or robbed with some contrived ending (although others may argue differently). This film dealt with how being in an affair must feel, and how finding out you're being cheated on could make your react in uncharacteristic ways.

As a movie critic said, this movie will indeed make you never have an affair!

I wasn't expecting much from 'Unfaithful' as I thought it would be another 'The Perfect Murder' type thriller. But 'Unfaithful' is so much more than what 'The Perfect Murder' could ever be. It's deeper. It's darker. It has so many psychological layers. It's more a character driven drama rather than than plot driven. The plot may not be exactly original but it's the influence of it on the characters is what 'Unfaithful' is about. The film is very engaging as we witness the psychological effects of the consequences of Connie's decision. Lyne deserves praise for his excellent artistic execution. I loved how he used symbolism (such as metaphors and pathetic fallacies) and shows great attention to detail as is evident in the visuals. The editing is clear cut. Biziou's cinematography is great and Kaczmarek's score sets the tone. Note that during the key moments, when the main characters are conversing, the background music is absent. Richard Gere and Olivier Martinez, though a little too old, do decent jobs. However, it is Diane Lane who gives a career-defining performance. Her sublime portrayal of the incredibly sexy Connie is awesome. She carries the film. It is Diane Lane and Adrian Lyne's film. 'Unfaithful' is a magnificent engaging artistic drama. I don't understand why some were even harsh enough to call it soft-core. Do they even know the definition of soft-core? Others seem to have a problem with why Connie, who had the perfect life, would have an affair. But I feel it necessary to stress that nobody is perfect and therefore the perfect life does not exist. Connie's affair wasn't a planned thing. Who knows why it happened? Perhaps she wanted to feel younger, perhaps she was bored, or perhaps she wanted more from her husband. I don't think it was with the intention to ruin her 'perfect' life. There doesn't have to be a clear reason...as affair's don't necessarily happen for the best reasons.

Is this a "great" film? Is this a Oscar-winning masterpiece? I honestly do not know. I was so engrossed in the plot that I didn't have time to judge artistic value. I was glued to my seat from start to finish. This is sassy, sexy thriller that delivers the goods and then some. But the actors make it work. The chemistry between each of the characters is electric.

Though Richard Gere gets star billing, it's the beautiful Diane Lane who has the most screen time. I'm always delighted to see her beautiful face on screen, but this is her most powerful performance up-to-date. Newcomer Olivier Martinez shows great charisma. He is a very talented actor, and if he goes on with his career in American movies, he can become the next Antionio Banderas. I swear, there were moments in the film where even I felt charmed by him. Richard Gere hasn't had a successful movie in years, and hopefully he'll get back on the ball with "Unfaithful." He delivers a fine, subtle performance and though I may be out on a limb, I'll say it's one of his best.

I haven't seen any of Adrian Lyne's past work, but I know he's an acclaimed director and now that I've seen this film, I'm curious to check out "Fatal Attraction" and his other past films. He definitely knows how to set the tone. The scenes have a cohesive rhythm, and I even spotted moments of symbolism.

"Unfaithful" is an intriguing, compelling piece--a real edge-of-your-seat nail-biter!

My score: 8 (out of 10)

Diane Lane undeniably holds together this film with a magnificent Oscar-nominated performance as the middle-class housewife who has a fling with a charming young Frenchman with tragic consequences.

The first hour or so of this film does play like any stereotypical "housewife fantasy". Adrian Lyne, second only to the Scott brothers for slick visual style, uses symbolism from the outset as what seems to be a desolate and deserted landscape turns out to be a seemingly happy family home. Connie's initial "meet-cute" with Paul is preceded and caused, quite literally by an almighty wind of change...You get the idea. Lane successfully keeps the audiences sympathies despite her devastatingly selfish and irrational actions. Thankfully, she doesn't quite submit to his charms and fall into bed with him immediately - it's only after some painfully awkward meetings and phone calls that the first sizzling, erotic scene occurs.

As the affair continues I found my sympathies strongly transferring to Connie's husband, played by Richard Gere, and son. Her actions become more and more selfish and the web of lies and half-truths begin. In one strong scene the incredibly beautiful Connie, turns down her husbands loving, sexual advances in an atmospheric bathtub, leaving him visibly hurt and aware that something is badly wrong. In contrast Connie has passionless sex with Paul in a restaurant toilet, when a chance encounter with friends prevents her from seeing him at his flat.

Like a couple of other recent dramas such as "In the Bedroom", the film does eventually, and disappointingly veer into conventional thriller territory. It is to Lyne, the script and his cast's credit that the film remains completely involving as both couples secrets become clear, and they are forced to regain and find strength in their relationship in different ways for their families survival.

On the downside, Gere is heavily outclassed in the acting stakes by Lane, though the chemistry is there which is important. Olivier Martinez certainly looks the part, although I did feel the part was underwritten despite his role being, essentially, a mere plot device. As stated earlier, the symbolism is a touch heavy handed, though the visuals are always attractive.

Overall, a surprisingly intelligent and moving look at infidelity and it's consequences on an otherwise stable and comfortable family. Lane's performance is tremendous and the script offers an incisive look at the dynamics of the couples relationship as the affair progresses, and after, as tragic events unfold. Although the film does veer into conventional thriller territory eventually, the film always tends towards reality rather than genre/movie logic, and the ending is wonderfully ambiguous.