| Jevon Taylor, 19 Apr 2008 |
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| I am sceptical about Kenneth Branagh films, over theatrical and lacking cinematic flair, but “Sleuth” took me by surprise. That is not to say that it is not theatrical – a remake of an 1972 film, this time adapted by playwright Harold Pinter (and Branagh) from the play by Anthony Schaffer and directed by Branagh, “Sleuth” takes place in a single location, sparsely decorated and elaborately lit like a stage. This, however, rather than ruining the film, as I would expect, stylised the visuals to the extent that its unusual camera angles and use of close-ups reminded me the way atmosphere and tension are built in Japanese anime (and I have long wondered why live action films do not, successfully, reproduce the cartoons’ often effective and charming compositions). This was no more the case than with the attention grabbing opening shot as hairdresser, and wannabe actor, Milo Tindle (Jude Law) rings the door bell of mystery writer Andrew Wyke’s (Michael Caine) conservative looking country house. The only shot in the film outside of the house (and outside of Wyke’s surveillance system), this is shot from a birds eye view on the very edge of the house – when Wykes answers the door all we see of him is his outstretched hand. From this point on the story revolves around plays of sexual jealousy (Tindel is sleeping with Wyke's wife), and the power associated with it and sex as the two men role-play themselves through burglaries and other scenarios. The dialogue, by Pinter, is predictably snappy and witty; and the actors performances strong – although Caine is much better than Law. So, despite being like watching an elaborately filmed play, I enjoyed “Sleuth”, and feel that many others would too. It is certainly better than Law’s last Michael Caine outing “Alfie”, and is an interesting and entertaining watch. |
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