Sleuth’s sinister remake

Dubby Bhagat

KATHMANDU: What with The Taking Of Pelham 123 remake for a new millennium with new techniques and a star cast comprising Denzel Washington and John Travolta, and a frame-by-frame remake of Alfred Hitchcock’s Psycho it is perfectly logical that a movie Sleuth that was nominated for four Oscar Awards including two for its leads Sir Laurence Olivier and Michael Caine should be remade for the new millennium, that it was made on 2008 and released in early 2009 and is still talked about shows how good it is.

Says Robert Sims, “In the original Sleuth, Laurence Olivier’s cuckolded crime novelist engaged in mind games with Michael Caine’s callow hairdresser. Now it is Caine’s turn to torment the young man who is sleeping with his wife — only Caine is in possession of a state-of-the-art surveillance system to help him beat down Jude Law. Acclaimed playwright Harold Pinter reportedly never saw Joseph Mankiewicz’s original film, and consequently his retooled Sleuth is somewhat more grave in tone than its predecessor. Pinter also rewrote the dialogue, which explains the introduction of R-rated language to what was previously a PG-friendly affair. Beyond those changes, Sleuth closely follows the original to a point. Caine’s Andrew Wyke invites Law’s part-time actor Milo Tindle to his country house under the pretence of amicably discussing his wife’s request for a divorce. Wyke’s not willing to expedite the divorce — unless Tindle pretends to steal a fortune in jewels from his safe. It’s a win-win situation, Wyke argues — the penniless Tindle can fence the jewels to fund his wife’s extravagant lifestyle, and Wyke can keep the insurance money. Tindle goes along with the plan, even though he suspects it’s a trap. And he’s right. Wyke just wanted to trick Tindle so he has a justifiable reason to shoot his rival for his wife’s affections. A few days later, though, the police arrive at Wyke’s home. Suddenly, the tables are being turned on Wyke. Pinter preserves Sleuth’s big twist, but then he foolishly adds a homoerotic subtext to the third act that’s pointless and unconvincing.

Michael Caine is not the refined thespian Laurence Olivier was, but that works in his favour. With his steely gaze, devilish grin and intimidating presence, Caine relishes the moments he physically and psychologically tortures Jude Law’s Tindle. Hidden behind Caine’s well-chosen words and expensive attire is a street brawler who — despite his age — could rip Law apart with his bare hands. Accordingly, there’s never a moment in Sleuth when you don’t think Caine isn’t in control, even when Wyke’s seemingly caught in his own trap. And you are left with impression that Caine’s teaching Law a lesson or two in acting for daring to take on his old role. Luckily, Law’s up for the challenge, though the nature of the material requires him to constantly be on the defensive. But as Tindle learns the rules of Wyke’s game, a delightfully slick and charming Law proves he has what it takes to engage in cat-and-mouse games with an old pro like Caine. And that’s when Sleuth is at its best. Nothing beats the sight of Caine’s master manipulator and Law’s ever-smiling pretty boy verbally sparring with each other, at least while Sleuth is being darkly comical.

Kenneth Branagh’s Sleuth feels almost like a scene-by-scene remake of the original despite the occasional flourishes. The main difference is that Branagh chooses to emphasis Sleuth’s sinister side, stripping the story of much of its playfulness. Branagh and Harold Pinter also retain the second act’s big twist, which eliminates the element of surprise for those who have seen the original.”