0
0
Two gifted actors join a director who knows a thing or two about the stage and a Nobel Prize-winning writer for this updated screen version of Anthony Shaffer’s Tony Award-winning play, Sleuth.
Two men meet at an impressive country estate to have a very important conversation. The owner of the estate is Andrew Wyke (Michael Caine), best-selling crime fiction author. Wyke is rich and famous and refined. His home is magnificent—cold and modern and remote-controlled. But his young guest, strikingly handsome struggling actor Milo Tindle (Jude Law), has one thing that Wyke doesn’t: Wyke’s wife. And he’s come to ask Wyke to divorce her.
The amusing battle of wits (and male ego) begins immediately, as the rich and successful author belittles his rival’s old, tiny car and invites Tindle into his expansive and exquisite home. But when Wyke suggests that the two men make a deal, things get a little more complicated—and a little more dangerous.
Sleuth couldn’t be much simpler. It’s a two-man show, set on one spectacular set—and much of the film’s action comes in the form of quick-witted banter as the characters constantly battle to one-up each other. But that simplicity draws you in, and it lets you get caught up in the characters and the sharp dialogue. Director Kenneth Branagh holds tight to the film’s theatrical roots—removing the distractions, focusing on the characters (often doing so through tight close-ups), and eliciting powerful performances from two very capable actors.
In the hands of less skilled performers, this simple, stripped-down production would have been a disaster. As it is, it does have its share of flaws. While the first act is no less than brilliant, the story does seem to crumble a bit as it continues—especially in its rather perplexing third act. By then, however, the story itself hardly even matters—because Caine and Law are so mesmerizing that they make it all worthwhile. There’s never been a question in my mind that Caine (who played Tindle in the 1972 version) is a gifted actor. But while I’ve had my doubts about Law, I don’t anymore. He handles this ambitious role with grace, skill, and breath-taking charm. And though he’s a little bit shaky in the beginning, occasionally tending toward an over-theatrical performance, he improves exponentially as the minutes pass.
Enjoyably dark and overtly theatrical, this short-and-sweet little thriller may have its weaknesses, but they’re overshadowed by its strengths—particularly by two strong performances and an absolutely stunning set. Sleuth is a simply stylish treat. Feel free to indulge.
