Directed by:
Kenneth BranaghCinematography:
Haris ZambarloukosComposer:
Patrick DoyleVOD (2)
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Best-selling author of detective fiction Andrew Wyke (Laurence Olivier) lives a wealthy but lonely life in a grand 16th century mansion. Receiving a visit from hairdresser Milo Tindle (Oscar® winner Michael Caine), who happens to be his wife’s lover, Andrew is clear from the onset that he is aware of the infidelity, but keen to turn the misfortune so it benefits all three parties. Hatching a scheme to involve Milo in a cunning robbery against himself in order to claim insurance monies in lieu of potential alimony, Andrew puts into a play high-stakes game of dark deceptions where nothing is as it seems and the endgame could mean murder. (Umbrella Entertainment)
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A series of modest ratings and critical comments led me toward skepticism and low expectations, which fortunately were not confirmed. To criticize the theatricality of this piece, which is truly based on a play and moreover takes place entirely indoors, is like criticizing a film set on a ship for having an excess of water. Compared to the original version, the remake is less playful, and the original film drew inspiration from classic detective stories written by authors such as Agatha Christie and respected the concept of the game. Both players were fascinated by the game and were willing to sacrifice a lot for its principles. Additionally, the element of traditional social division was also present. These two men were deeply divided by societal class and the plot was driven forward by their unwillingness to acknowledge the abilities of the seemingly stronger intruder and thus jeopardize their aristocratic social status. Here, the crime comedy is suppressed and instead, a psychological drama between two men from different social groups emerges, in which the wealthier one tries to manipulate the other. As a whole, it is colder, and the idea that everything can be bought is reflected in the cold lighting that dampens emotions. On the other hand, the cat and mouse game is preserved, and above all, we do get a showcase of excellent acting from two great actors of different generations. However, what fit perfectly together in the original version feels slightly off in the modern version. The final shot adds a bit too much compared to the first film. Overall impression: 75%.
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Sleuth is not a bad film, as a remake it is quite good, but it has the misfortune that the original is simply several classes better. If you give me a choice between Olivier/Caine and Caine/Law, I'll always choose the former because it suits me better. Branagh clearly did his best in the director's chair to make the new Sleuth more interesting, even in the moments when there is somewhat unnecessary blabber the screen (yes, there are a few such dialogues), the atmosphere is also lifted by the great music by Patrick Doyle, both gentlemen definitely don’t act badly... But compared to the original, it's just weak = cold, sterile and at times almost as funny as a corpse on an autopsy table.
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I admire films that manage to tell a story with minimal characters. Sleuth only needs two actors. Two excellent actors, by the way. Michael Caine and Jude Law deliver outstanding performances here, literally, portrayed in a suspenseful, intriguing, almost psychological manner. I'm curious about the original film from 1972 because this one is truly excellent.
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