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Notes on a Scandal is a wonderfully salacious and psychologically controlling character piece, which brilliantly showcases two of the industry's more gifted actresses.
Based on the prize-winning novel by Zoe Heller, Notes on a Scandal is a case study in obsessive relationships. When Sheba Hart (Cate Blanchett) joins a London secondary school as the new art teacher, fellow teacher Barbara Covett (Judi Dench), who rules her young charges with an iron fist, senses a kindred spiritand perhaps salvation to her lonely existence. But as Barbara notes in her acerbic diary, she is not the only one drawn to the luminous Sheba. She soon begins an illicit affair with one of her high school students (Andrew Simpson), and Barbara suddenly becomes the keeper of Sheba's secret. Barbara could expose Sheba to both her husband (Bill Nighy) and the world, but instead Barbara manipulates it for her own nefarious and selfish reasons. And in playing this dangerously compulsive game, Barbara's own secrets come tumbling to the fore, exposing the deceptions at the core of each of the women's lives.
Dench and Blanchett give tour-de-force performances yet again. Blanchett's natural effervescence provides the beacon for all the wantedand unwantedattention Sheba receives, but it's her fragile emotional state that draws you in. Played like a wounded butterfly, Sheba is too weak to either stave off a dalliance with the young gentplayed with convincing lustfulness by newcomer Simpsonor tell the stifling Barbara to bugger off, despite the consequences. Then there's Dench as Barbara, representing the opposite end of the spectrum as Notes' driving force. She's a bull dog, whose withering glares stop her students in their tracks and cutting remarks slice her fellow colleagues to bits, all punctuated by her caustic running commentary. Still, when Barbara turns madly obsessive, with her soft underbelly eventually exposed, she crumbles with the best of them. And the best part of Notes is watching these two brilliant actress go toe-to-toe for the first time on film. The underrated Nighy also does a fine job, ditching his Pirates of the Caribbean's tentacles to play Sheba's down-to-earth yet hapless husband. A top-notch cast all around.
Director Richard Eyre is no stranger to crafting intimate, pro-actor dramas, having helmed such films as Stage Beauty and the Oscar-nominated Iris. He understands where to move the camera to best frame his players, as they pour their hearts out on screen. And with Notes on a Scandal, Eyre knows that besides his two leading ladies, the real star of the film is playwright/screenwriter Patrick Marber's superb adaptation of Heller's introspective novel. Voice-over narration is always a tricky film device, but for Notes on a Scandal it's absolutely essential, and Marber faithfully captures the inner-workings of Barbara's skewed thoughts, which she fervently writes down in her diary, in such delectable ways. Then, he entwines the twisty events around these two women. Much like his other work, including the exquisite Closer, Marber hands in another true gem. Combined with all this is another haunting, pulse-pounding score from Philip Glass (The Hours), who sets the tone so perfectly. Notes on a Scandal is definitely one for the Academy Awards' books.
Hollywood.com rated this film 4 stars.
Copyright © CinemaSource 2007.
On paper Richard Eyre's new film is flawless. It stars the awesome Judi Dench and Cate Blanchett and was adapted by Patrick 'Closer' Marber from a book by Zoe Heller that was critically acclaimed on its publication in 2005.
Somehow, though, the film falls short of expectations, not least because, despite the brilliance of the acting, Dench and Blanchett's characters aren't believable. The latter plays Sheba, a newly arrived teacher at a British public school, where she catches the attention of Dench's Barbara, a battle-axe whose voiceover forms the film's backbone.
On the face of it, Sheba is happily married (to Bill Nighy), but she embarks on a sexual affair with one of her 15-year-old students (Andrew Simpson), earning the wrath of Barbara, who catches the pair during their lovemaking and as Sheba's self-appointed confidant, feels she has been callously betrayed. She, after all, fancies herself as more than Sheba's friend, as evidenced by the way she draws hearts around her name when she scribbles their conversations in her diary.
It comes as no surprise, then, when the film descends into melodrama accompanied by Philip Glass's heavy-handed score. More restraint and the film, for all its imperfections, might have been made more of its imperious cast. As it is, this is Fatal Attraction with A-levels and, alas, deserving of no more than a one-night stand.
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