Trahisons conjugales

This is a really fine movie with excellent characterizations. I've never seen Patricia Hodge in anything else but in this movie she's the equal of Irons and Kingsley. It's interesting how the movie starts with the very emotional end works it's way back to the innocuous beginnings.

An ingeniously constructed movie, adapted from his play, by celebrated writer Harold Pinter, directed by Sam Spiegel, "Betrayal" shows in reverse order, the end and beginning of an extra-marital affair between a gallery-owner and her publisher husband's best friend. In a reversal of convention, we see the ravelling as opposed to the unravelling of a relationship going wrong with the backtracking device keeping the viewer watching right to the last "genesis" moment.

The characterisation does betray a little chauvinism, you do lose a little sympathy for the cuckolded Ben Kingsley character after he admits to serial philandering of his own, but for me the film succeeds by not judging the characters at all, more they're put under the microscope like lab rats for the voyeuristic viewer to examine their behaviour and come to one's own moral judgement.

To stand up to this scrutiny without deadening proceedings requires good acting and that's unquestionably the case here with Jeremy Irons and Patricia Hodge as the stars-uncrossed lovers and Kingsley as the jilted husband. The acting is restrained and avoids for the most part ostentation although occasionally you can see the twitches and tics of Irons and Kingsley kick in a la the Dustin Hoffman method-acting manual. You get the impression sometimes of scenes requiring several takes as the actors strive for naturalism, at which points it's better to enjoy Pinter's way with rhythmic dialogue and dramatic pauses - as ever he's especially good at picking up on the mundaneness of everyday conversation, even if the world of galleries and authors is probably somewhat rarefied to the rest of us. The film seeks to avoid its theatrical beginning with occasional outdoor shots as well as often employing background noises as the world outside the three's own isolated but entwined worlds come apart. Otherwise the direction is smooth but never intrusive and avoids overtly sexual scenes which I might otherwise have anticipated from the plot.

Although not perfect, this was an engrossing and entertaining examination of human emotions when love goes wrong, right and finally wrong again.

It has often been said that great books can not be made into great movies, that is not the case here. This is a story by one of the greatest writers in the English language since Shakespeare and screen play by the one man who truly understood the agony behind the story. Mix that with three of the best English actors of the modern age and you have a mesmerizing story in cinematic form. Do not miss this movie if you are a fan of great literature and great movie making. At first the reverse chronology may seem a bit confusing, but ultimately it proves the genius of the director's ability to plumb the depths of the friendship and the relationship of all the characters in this sad, sad story. You will not be disappointed.

Deciding to confront the husband of his longtime mistress after she reveals that she has let on about their affair, a British book publisher is surprised to learn that the husband has known of the extramarital affair for years in this quiet yet intense drama from the pen of Harold Pinter. The film intriguingly unfolds in reverse chronological order, beginning with the aforementioned confrontation and then flashing back further and further in the past to examine how the affair managed to develop to its current point. Some have criticised this narrative style as a gimmick, but on the contrary, it fits in incredibly well with the publisher's shock over the husband (also a longtime friend) knowing about the affair; it almost feels as if he is searching his memory for hints of the husband being clued into the affair that he may have missed at the time. Whatever the case, Jeremy Irons (as the man having the affair) and Ben Kingsley (as the knowledgeable husband) deliver pitch perfect performances throughout with Kinglsey subtly radiating animosity in the flashback scenes - particularly a restaurant luncheon - something all the more pronounced due to Irons being so ignorant of it and so conceited to believe that nobody knows of the affair. Patricia Hodge is less effective as the woman in the love triangle, never all that alluring; Dominic Muldowney's music is sometimes overbearing too. Generally speaking though, this is a handsome production as well as a testament to how much a film can achieve with minimal sets, lots of dialogue and an ending revealed at the beginning.

The great master of Theatre, Harold Pinter, brings us the seduction of one of his (in my opinion) best plays. With stunningly clued performances by Irons, Kingsley and Hodge, the play seduces as it unfolds, and every scene is charged with a sexual tension. A daring step for film and writing, the plot is shown backwards and both the end and beginning are so beautifully touching because you know what will happen, as well as what has already. A triumph of the cinema.