SYNOPSIS
A cat and mouse game of wits and revenge between two men who love the same woman.
CRITIQUE
My introduction to Sleuth is slightly different than those who feel it's necessary to compare which version is “better," (i.e the original film with Lawrence Oliver/Michael Caine or the new remake with Caine/Jude law). Sleuth began its career as Anthony Schaeffers' stage play. At the risk of dating myself, this was the version (Patrick McNee, Curt Dawson 1973) I saw first, and it still remains the best.
Live, a two-character piece like this one can feel supercharged. The simpler the set/props the better, for it makes the audience focus on the dramatic interplay.
On screen, no matter how many attempts a director might make to cinematically "open up" the presentation, a filmed play cannot ignore its roots--and Sleuth is no exception.
Fortunately the producers chose Harold Pinter to perform the adaptation. As both playwright and screenwriter, the guy is no slouch: witness The French Lieutenant's Woman, The Last Tycoon, The Quiller Memorandum and the only film whose plot can be viewed harmoniously both forward and backward: Betrayal (1983). Clever fellow! Equally clever is director Kenneth Branagh, who knows a bit or three about adapting plays for the screen.
One might rightfully expect fireworks when these two collaborate, especially with actors of Caine and Law's caliber. Sleuth should jangle the nerves and buzz the intellect, but in reality it's a less-than-electrifying experience. Enjoyable, to be sure — but a slight disappointment given the talent behind it.
Without resorting to spoilers (the whole thing absolutely hinges on 'em) the basic story involves an aging, highly successful writer of mystery novels (Michael Caine) who invites his younger wife's lover (Jude Law) to his sprawling estate to engage in the most devious murder/deception a brilliant cuckold could ever whip up. This battle of wits is fought with the sharpest of verbal rapiers until someone produces a gun, and then things really get interesting!
From play to film to film, Sleuth doesn't change all that much. Schaeffer's intention was to create a cracking good story, not a brilliant character study. In this light his intent shines through every version. The latest one changes the traditional country estate location to a high-tech wonderland. It's a cold film alright, filled to the brim with made of steel and glass.
Caine's gadgets and hiding places are much more impressive, not to mention vital to the nature of his character. Yet the single most important low-tech disguise isn't carried off with nearly as much aplomb as previous versions. Jude Law appears to be swimming upstream in Caine's presence. When he tries to be deceptive and vengeful the effect is underwhelming--or more to the point, outclassed. (It may just be a matter of experience, but Caine was definitely able to hold his own against Lawrence Olivier in the '72 version.)
Some of Pinter's updates to the script are also a bit stiff. Favorably, he condenses the narrative from 150 minutes to a breezy 90 without missing a beat. Yet underlying the new story is a subtext of homosexuality that was never present before. Not a bad idea; but Pinter's in his 80s now and just a tad out of touch with sexual mores of the day. When the characters start comparing the size of their cars, metaphoric subtlety goes right out the window. As the ship's captain Branagh should've known better. Sleuth is entertaining, but ultimately much ado about nothing.
THE VIDEO
Sleuth is presented in 2.35:1 anamorphic widescreen. Marvelous production design and crisp noir cinematography are vital elements to the reworked theme. Nice facial tones standout among the steely blues and concrete grays.
THE AUDIO
Sleuth is presented in English 5.1 Dolby Digital Surround. With such a character-driven piece there's nothing to overwhelm the senses here. I found Patrick Doyle's score to be competent but unmemorable. Optional subtitles are available in English, French and Spanish.
THE EXTRAS
Commentary by Kenneth Branagh and Caine, Second Commentary by Jude Law: The usual stuff, albeit delivered by highly intelligent professionals whose observations are generally more interesting than less articulate commentary found elsewhere.
A Game of Cat and Mouse: Well, let's than goodness there's no green screen work in Sleuth! Law, who also co-produced, gives some cogent insight into the nut and bolts of the filmmaking process.
Makeup Secrets Revealed: The special character makeup is tied into a spoiler which I won't reveal. The only comment worth noting is that even as the technology has progressed, it still takes a superior actor to pull off the charade.
FINAL THOUGHT
Try to catch a revival of the play some day. Sleuth is worth as a rental.
