Sleuth

When Britain does it right....no one can come close to it! This was just such a movie. A filmed version of Anthony Shaffer's own wonderful stage play, the brilliance needed to sustain 138 minutes attention between just two people in three or four rooms of a single house - should not be underestimated. Olivier is in his element as the upper crust land-owner who invites Alfie-esque hairdresser Caine to his mansion, simply to acknowledge his wife's infidelity with him and to inform Caine that he is messing with the wrong guy.

The dialog driven plot is probably beyond the grasp of most younger viewers, but is a veritable revelation for those seeking to be entertained on a grand scale. As important a player as anyone else, the house itself and its many wondrous artifacts are simply stunning. How the tables are turned and the roles reversed? Without doubt, one of the greatest films ever made.

As for Alex Cawthorne's stunning performance as Inspector Doppler, what can I say? Its almost as is he wasn't there!

I'm so curious as to how the 2007 remake pulled off this story considering the particular directions it takes. Alas, I'm here to discuss the 1972 original. Brilliantly played out by two of the all time great actors, Michael Caine and Laurence Olivier, Sleuth tells the twisted story of two men constantly trying to one-up the other with games and wit which could lead to deadly outcomes. It's 2 hours and 18 minutes and not a single second lost my attention. Even more impressive that it all takes place in one house, over the course of just a night or two, and yet the film doesn't drag nor hold up on thrills. It's not a film that can necessarily be duplicated ever again, considering the social media age we live in now, but considering this film still holds up, we never need another rendition.

8.3/10

To me, "Sleuth" is a demonstration of the problem with the Oscars (certainly a problem in 1972, and perhaps now also). The problem was that, even before the casting was done for the film of Mario Puzo's "The Godfather," everyone knew that whoever played the leading role was going to receive the Best Actor Oscar, irrespective of the performance. To rate Brando's performance above the performances of Caine and Olivier that year is nothing short of ludicrous. All I can say is thank God that at least Joel Grey received the best support Oscar for "Cabaret" that year.

I first saw Anthony Schaffer's play on the London stage about two years prior to the release of the movie. The leading roles were taken by Paul Rogers and Donal Donnelly, two fine English actors who were superb in these parts. I remember thinking what a difficult thing it would be to make a film of this, but I was sure that someone would try it and make a mess of it. How wrong I was!

I note that "Sleuth" comes up as #250 in the IMDB top 250. I recently selected my top 100 and it comes up at #55. This is a magnificent movie that keeps one on the edge of the seat for its entire length. The performances of the two leads as they play the same game a number of times is stunning. Here is the man acknowledged as perhaps the greatest actor of the 20th century, and here is the Cockney up-start Caine (famous for his "kitchen-sink" roles such as in "Alfie") matching him at every turn and often soaring above him.

But in saying all this, I need to put in a plug for perhaps the finest supporting performances ever delivered. Alec Cawthorne, a man few have heard of outside "Sleuth," is mesmerising as Doppler, while John Matthews and Eve Channing, although having very minor parts, imbue every nuance of their performances with ethereal splendour.

In England, the Italian English hairdresser Milo Tindle (Michael Caine) is invited by the successful writer of detective stories Andrew Wyke (Laurence Olivier) to visit his isolated house. The lower class Milo is the lover of Andrew's wife, who is used to have a comfortable life, and he intends to marry her. Andrew proposes Milo to steal his jewelry simulating a burglary. Milo would make a fortune selling the jewels to an intermediary; and Andrew would be reimbursed by the insurance company and would not pay alimony. However, the whole situation was part of an evil game. When Milo vanishes, a detective visits Andrew to investigate what really happened that night, when deadly games are disclosed.

"Sleuth" proves that a great screenplay, an outstanding director, two top-notch actors and four scenarios suffice to make an excellent movie with four nominations to the Oscar. The intelligent and wit theatrical story has amazing lines and twists in a duel of cat and mouse between two icons, and has not aged. My vote is nine.

Title (Brazil): "Trama Diabólica" ("Diabolic Plot")

Sleuth is based on an outstanding stage play by Anthony Shaffer. Sometimes, a work which succeeded on the stage doesn't transfer well to the big screen. Movies like Equus and Dangerous Corner - which were a delight in theatres - lose their power under the close scrutiny of a film camera. Sleuth is not a failure. It retains its stagebound plot, characters and dialogue, but somehow manages to be totally engrossing as well.

Part of the joy is due to Laurence Olivier and Michael Caine. The two giants of Britsh acting don't chew the scenery in an attempt to out-shine each other; they complement each other quite brilliantly and turn in two of the finest screen performances you could ever aspire to see. Olivier plays elderly author Andrew Wyke, an obscenely wealthy, well-educated and devious man. Caine is Milo Tindle, a charming, ever-polite young hairdresser. Milo visits Andrew to ask for his blessing in marrying his estranged wife. Although Andrew seems fairly open to the idea of giving away his wife (after all, they despise each other) he still feels stung by her exit, so he engineers a cruel game to humiliate Milo. But who is playing a trick on who?

The dialogue is terrific, but it needed terrific actors to get the best out of it. Caine and Oloivier do a fine job. Ken Adams' set design turns Olivier's gorgeous palatial house into a dazzling mansion of madness. The tinkly music by John Addison creates a playful yet ever-so-slightly uncomfortable mood. Joseph L. Mankiewicz directs perfectly, getting maximum suspense from his staging of scenes and thoughtful choice of camera angles. The twists are superbly disguised, especially the awesome "shock" climax which will blow you away. See Sleuth - it's one of the best!