Chronique d'un scandale

What a treat to watch three of the best actors of our time in the same movie! Judy Dench is an international treasure; Cate Blanchett never looked better or created a more compelling character in any of her other movies, and I had the good fortune to discover Bill Nighy on Broadway in "The Vertical Hour" with Julianne Moore the night before I saw "Notes from a Scandal," and I now want to see everything he's done. A superlative creator of character. "Notes from a Scandal" tells us a lot about the "British" penchant for relishing "scandals" (they invented the tabloid press) and also about the odd, intersecting relationships that have become a nearly commonplace reality in the contemporary world. Both Blanchett and Dench (as Sheba and Barbara) teach at the same Islington secondary school. And both, in very different ways, embark on "inappropriate" relationships that create turmoil in their lives and the lives of their community. Judy Dench conveys the desperate loneliness of her character's life and a remarkable scene of her smoking a cigarette in a bathtub conveys the distinction between her kind of loneliness--an older, unattractive, single woman with no real connections in life--and the more endurable kinds of loneliness that many of us share. This is a gripping film that moves crisply from one scene to the next, missing only a very few beats along the way. A must see.

The bitter, cynical and lonely Barbara Covett (Judi Dench) is a tough and conservative teacher near to retirement that is loathed by her colleagues and students. In the loneliness of her apartment, she spends her spare time writing her journal, taking care of her old cat Portia and missing her special friend Jennifer Dodd. When Sheba Hart (Cate Blanchett) joins the high-school as the new art teacher, Barbara dedicates her attention to the newcomer, writing sharp and unpleasant comments about her behavior and clothes. When Barbara helps Sheba in a difficult situation with two students, the grateful Sheba invites her to have lunch with her family. Sheba introduces her husband and former professor Richard Hart (Bill Nighy), who is about twenty years older than she; her rebellious teenager daughter Polly (Juno Temple); and her son Ben (Max Lewis) that has Dawn Syndrome. Barbara becomes close to Sheba, but when she accidentally discovers that Sheba is having an affair with the fifteen year-old student Steven Connolly (Andrew Simpson), Barbara sees the chance to manipulate and get closer to Sheba, hiding the secret from the school headmaster. When Portia dies and Sheba does not stay with Barbara in the veterinary office to see Ben in a theater play, Barbara plots a Machiavellian revenge against Sheba, creating a scandal and consequent turmoil in their lives.

"Note on a Scandal" is a gem to be discovered by movie lovers. This tale of obsession, loneliness and Machiavellism is supported by a magnificent screenplay and awesome performances of Judi Dench and Cate Blanchett, two of the best actresses of the cinema industry in the present days. The story has drama, romance, passion, lust, obsession and eroticism disclosed in an adequate pace. The development of the lead characters is perfect, disclosing two lonely and obsessed women, one compulsive and loathed by everybody around her, and the other that is the object of desire of the old teacher, her husband and a young student. The result is one of the best movies that I have recently seen. My vote is nine.

Title (Brazil): "Notas Sobre Um Escândalo" ("Notes on a Scandal")

This is a story told through the proper subjective medium, film, with such painful, cynical candor for how Barbara has spent a life disabusing herself of any rose-tinted notion of life or people. The price? Absolute, utter loneliness. The dynamic human images we see our narrated by the day-by-day items in the diary she zealously keeps as a sanctuary, and an affirmation. The movie fixes on acts of indiscretion and disloyalty, entailing not just our scathingly wise narrator and her new teaching colleague Sheba, but Sheba's husband, the headmaster, a teacher infatuated with Sheba, and a 15-year-old student. Each believes their reasons are sincere, but are all entrenched in variations of self-deception. As Barbara says, in one of the most tellingly human things I've ever heard in a movie, "It takes courage to recognize the real as opposed to the convenient."

Dench and Blanchett, as Barbara and Sheba, share not only a gift for deep behavioral detail but a skill at withholding or telegraphing charm and beauty, as required. This may be one of the numerous reasons why they're as compelling as they are. It's definitely part of why this is some of their finest work. It's part of the drama's mechanism. Were Sheba not the breed of beauty she is, a naive, impressionable, coddled pixie, then we couldn't appreciate how intensely Barbara wants her. It's not exactly love so much as controlling, envious fixation on Sheba's stunning upper-class ease. And were Barbara not a teakettle of seclusion boiling through decades of disillusionment, we couldn't identify with how distorted the manifestation of that affection becomes.

That's the marvel of the movie: It's about the venomous influence of loneliness, viewed through a tale of two people in love. But unfortunately for both, not with one another. Sheba becomes smitten with a cute but cagey student. Played with what seems like natural hyper-confidence by Andrew Simpson, he sees an occasion in the way she looks at him. She has no clue of how defenseless she truly is. It's not only dishonest and unethical, she tells herself, it's totally ludicrous, but when he cups her face and says, "You're beautiful, Miss," she melts.

Barbara, meanwhile, fosters an obsession in her diary, relating thoughts precariously bordering on fantasy. Barbara's seclusion within the school is total, but Sheba is somebody who hasn't experienced her acidity. Barbara can smother someone with good turns and not be rejected. She helps Sheba win control of her students. "One soon learns that teaching is crowd control. We're a branch of social services." Sheba asks her to Sunday roast, where Barbara describes Sheba's family with characteristically rancorous humor. Dench's delivery of these delectably spiteful lines is an triumph in vocal meticulousness and tone that is its own prize. Even when this apparent ice queen drops minute words of vulnerability like "Is that why she hasn't returned my calls?" there's an extra intensity in how strongly we can all relate to the insecurities of her inner voice.

There are giftedly handled, extraordinarily candid scenes of rage, humiliation and disgrace, and cruel physical and emotional clashes of immense force. The teachers are somewhat caricatured, but that's because they're filtered through Barbara's misanthropic viewpoint. If it's her omniscient voice we're hearing, it's through her omniscient eyes we're seeing what she describes, and it's the figures who allow her access to their humanity who have profundity and delicacy in their depictions. A wholly earnest Dench brings to Barbara that frigid reserve that's somehow one with a despairing need for consolation and affection. Early on, Sheba is basically an alluring figurine, watched from afar. When our voyeuristic chronicler discovers Sheba's business with the student, Sheba grows immense dimension.

We start to see Sheba's own manner of advantaged lonesomeness…or just tedium. "Marriage, kids, it's wonderful," she presumingly explains, "but it doesn't give you meaning." Blanchett brilliantly uses her character's advantages to betray her. The grim lesson she's about to learn from Barbara seems belated, even valuable. People like Sheba, according to Barbara, and I'm sure you'll agree, think they know loneliness, but they know nothing of planning one's whole weekend around a laundry errand, or being so continually untouched that the inadvertent sweep of a stranger's hand ignites years of sexual longing.

What I adore about the film is this discerningly intricate moral kaleidoscope weaved in completely modern domestic terms. It's going on in your neighborhood, not just Islington. There are scandals like this every year, and we dismissively conjecture from what little we gather. The cunning concept here is that we're seeing it through the sieve of Barbara, and whose transgressions transcend contemporary know-it-all assumptions.

Barbara Covett is a history teacher who lives alone and is comparatively friendless. The one woman she was friendly with has moved on to another school in a better area but she still has her cat and her diary. When young art teacher Sheba Hart starts in the new term, Barbara keeps her distance to feel her out but she finds quite a nice woman with whom she thinks she can start a friendship. However the discovery of a scandalous secret in Sheba's life means that the relationship takes a darker turn.

From a distance you could see this film as yet another entry into the Fatal Attraction / Single White Female genre in the way that it is essentially about a "normal" relationship that turns sour as it becomes steadily more evident that the "normal" person is actually a tad unhinged. However does this mean that we are going through the motions here and that we will end up with a Dench/Blanchett fight like it's some sort of Bafta Special of Celebrity Wrestling? Well thankfully no. The narrative does head this way to a point of course but it remains engaging and grounded, mainly down to the fact that the story is not strictly one of this specific relationship but rather it is the story of Barbara. This is clear from the fact that the only narration or inner thoughts we get to hear are from her and, although it is not told from her perspective, it is clear that she is the subject of the film rather than Sheba (who is Barbara's subject).

The film paints out a convincingly real Barbara and in a way she reminded me a little of the "Lady of Letters" from Alan Bennett's Talking Heads. In her own world and journal she has developed this aloof attitude of one who is lonely but has convinced herself that she is more than happy to be so. But yet she also still has this edge of desperation, of being so much more needy than she will ever recognise. It is a very well written part and it goes without saying that Dench plays it perfectly – delivering in the detail and reigning in any potential for "bunny boiling". The story is well delivered and it is the characters that prevent you really questioning the internal logic too much because it does all convince both within itself but more or less within the wider world as well.

Eyre's direction is good in terms of controlling his cast even if it does feel every inch a BBC TV film that has gotten ahead of itself. Blanchett works well opposite Dench; she knows that the film is not about her character even if her character is key in telling it and her performance is pitched well to reflect this. As another user has already humorously said, Bill Nighy is good as the Bill Nighy character but I was upset that Phil Davis did not get more to do as he is very good at the type of character he played here. Simpson is well cast and makes his character work pretty well considering the demands put on him by the narrative – something about his Northern Irish accent that makes me believe it (!).

Overall then an engaging and well-delivered film. At first glance it is another crazy stalker movie but really it is much more than that as the characters are well written and convincing (even if aspects of the narrative aren't to the same degree) and the strength of the lead performances almost goes without saying as a given.

Certainly a very stylish drama, riveting and brilliant, rising above the modern-day thrillers due to stunning performances of two very gifted actresses. It's both dramatic and funny, Judy Dench and Cate Blanchett are delicious and so talented that they turn a misanthrope cat and mouse game into a politically correct entertaining account. This strong emotional battle is not only something about teacher-student sex, it's also an obsessing blackmail. Without exaggerating it could be deemed "memorable", as revelations abound, tempers flare all the time and every single confidence is shared. Never boring and deep.