The End of the Affair (1955)

Director:

Edward Dmytryk

Writers:

Lenore J. Coffee (writer)
Graham Greene (novel)

Release Date:

mayo 1955 (USA)

Genre:

Drama

Plot:

In wartorn London Maurice Bendrix falls in love with neighbor Sarah Miles. They begin an illicit romance behind Sarah's husband's back...

Plot Keywords:

Chandelier | Extramarital Affair | Air Raid Siren | Belief | Atheist

Awards:

Nominated for BAFTA Film Award. Another 1 nomination

Comentarios de los usuarios:

Talky and understated passion but still a good adaptation of the book

Cast

Deborah Kerr	...	Sarah Miles
Van Johnson	...	Maurice Bendrix
John Mills	...	Albert Parkis
Peter Cushing	...	Henry Miles
Michael Goodliffe	...	Smythe
Stephen Murray	...	Father Crompton
Charles Goldner	...	Savage
Nora Swinburne	...	Mrs. Bertram
Frederick Leister	...	Dr. Collingwood
Mary Williams	...	Maid
O'Donovan Shiell	...	Doctor
Elsie Wagstaff	...	Bendrix Landlady
Christopher Warbey	...	Lancelot Parkis
Nan Munro	...	Mrs. Tomkins
Joyce Carey	...	Miss Palmer

También conocida como:

Vivir un gran amor (Spain) [es]

Duración:

105 min

País:

UK

Idioma:

English

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sonido:

Mono

Clasificación:

Canada:PG (Ontario) | West Germany:16 (f) | Finland:K-16

Filming Locations:

Chester Terrace, Regent's Park, London, England, UK

Company:

Coronado Productions

Trivialidades:

Gregory Peck was offered the male lead.

Goofs:

Continuity: After the bomb explosion, when Sarah leaves, she stops in doorway and grabs the door side with the right hand. Between cuts, she appears without hand on the door at all.

Quotes:

Sarah Miles: ...The time ahead is endless.
Father Crompton: Prayer could help to make it shorter.
Sarah Miles: I prayed once too often.
Father Crompton: When we seek God, it means we've already found Him.
Sarah Miles: But I don't want Him, and what does He want with me? What can I offer Him except a shabby second best?
Father Crompton: I'm afraid He's used to that.
Sarah Miles: How sad for Him.

Movie Connections:

Referenced in "Grosse Pointe: The End of the Affair (#1.14)" (2001)

Talky and understated passion but still a good adaptation of the book

An American writer meets the wife of a civil service acquaintance and quickly starts an affair with her. However Maurice is plagued with feelings of guilt and jealousy against Henry having Sarah, and bitterness that Sarah is being deceitful to her husband and perhaps, him too. After a bombing falls near their love nest, Sarah leaves and Maurice assumes that she had wished him dead. When Henry confides in him about his wife's possible infidelity, Maurice poses as her husband and hires a private detective to follow her and find out what she's doing.

I have not seen the remake but was quite interested to see how a 1950's movie would manage to depict the illicit affair between Maurice and Sarah without breaking every moral code of the day. The answer is – with lots of talking. The film is significantly shorter than the modern version and had less controversy (or at least, does now) but it still manages to bring things out. The plot is pretty good but relies very heavily on the extended flashback/journal sequence to keep things going. The talk heavy feel is a little tiring but does work well – the characters' emotions are brought out well without profanity or nudity.

I don't think Johnson fitted the role that well but he was still good. His inner bitterness and guilt came out well at points and he brings his complex character out well. Kerr is also good although her role is less difficult. She does have to carry the whole journal sequence near the end and she doesn't let the film dip. Cushing only has a few scenes but he is very good. He gives an English gent performance but eventually you can see the cracks as he tries to hold his feelings together.

Overall this is a solid adaptation of the book that manages to bring out the subject matter without the sexual excess of the modern version. While it is a little heavy on dialogue at times, the emotions come out with all the stilted control of the period and it works quite well as a subversive melodrama.