Sleuth (2007)
Besides the title, the name of the characters, and the first few minutes, the 2007 Sleuth is a completely different movie than the 1972 Sleuth. Widely touted as a remake, featuring a toe-to-toe between Alfie and Alfie, it really isn’t a remake at all. Anyone who liked the original will detest this version, and vice versa.
On paper, it’s a great idea: Take the actor who played the younger part in the original Sleuth and cast him as the old man. Take the actor who remade Alfie and cast him opposite the actor who originated Alfie. How can that possibly go wrong? Two reasons: Harold Pinter’s screenplay and Kenneth Branagh’s direction. Pinter bragged not only that he’d never seen the original but that he didn’t use a single line of dialogue from Anthony Shaffer’s play. Even the most innocuous plot description—one man invites a younger man over to his house for a drink—can’t be said about the remake, because in this version, the younger man invites himself over. That tiniest detail makes all the difference to Anthony Shaffer’s original plot.
Kenneth Branagh has proved time and again he doesn’t really understand the classics. Just take a look at what he did to Murder on the Orient Express. In his direction, he places the camera in areas he thinks will add to the mystery of the story and will put audiences on the edge of their seats. For example, the first few minutes are shown through a security camera. Neither of the leads’ faces are shown during their initial meeting, which, if shown and well-acted, would have added an extra depth to the story. He constantly places the camera in different parts of the minimalistic house, hoping that stripes along the wall, elongated mirrors, or bird’s eye views will make audiences think, “Oo! I’m confused—nothing’s what it seems!”
At first, I had my doubts about Michael Caine taking on Laurence Olivier’s role, because he doesn’t reek of wealth and cunning intelligence, as the role requires. He was perfect in the younger role, because audiences forever associate him with Alfie, the lovable Cockney ladies’ man. However, in the remake, the role is entirely different. He’s rich, but his house is minimalistic and modern, rather than opulent and obviously belonging to the family for generations. He isn’t cunning, either, and the entire raison d’être of Laurence Olivier’s character—his need for mystery and games—is replaced by homosexuality, in a cheap attempt to make audiences think the film is cutting edge.
Jude Law’s character is also cut down and changed. His role is far more cunning than in the 1972 version, but he’s also written to be quick-tempered, disgusting, and almost deranged. He’s a very handsome man, but for some reason, he’s continually drawn to roles that make him either physically unattractive or so horrible on the inside that his outsides don’t matter. If you happen to have a crush on Jude, you might not want to see him in this movie, as he’s particularly creepy. This film actually gave me nightmares after I watched it.
Without giving anything away of the plot, I’ll express one more concern with Pinter’s script. In Anthony Shaffer’s play, the older character has a particular motivation that in turn, once realized, motivates the entire rest of the story. The remake uses the original motivation, but the way in which it’s executed is reduced in length and emotional impact. Therefore, the rest of the story doesn’t make any sense. I watched both versions of Sleuth on back-to-back evenings, and while I didn’t like the first one, I was appalled by how much I hated the second.
Kiddy warning: Obviously, you have control over your own children. However, due to language and violence, I wouldn’t let my kids watch it.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not your friend. There are strobing lights and distracting wall designs that might make you sick. In other words, “Don’t Look, Mom!”
More Michael Caine movies here!
More Jude Law movies here!
Be sure to check out Hot Toasty Rag's review of 1972's Sleuth here!
On paper, it’s a great idea: Take the actor who played the younger part in the original Sleuth and cast him as the old man. Take the actor who remade Alfie and cast him opposite the actor who originated Alfie. How can that possibly go wrong? Two reasons: Harold Pinter’s screenplay and Kenneth Branagh’s direction. Pinter bragged not only that he’d never seen the original but that he didn’t use a single line of dialogue from Anthony Shaffer’s play. Even the most innocuous plot description—one man invites a younger man over to his house for a drink—can’t be said about the remake, because in this version, the younger man invites himself over. That tiniest detail makes all the difference to Anthony Shaffer’s original plot.
Kenneth Branagh has proved time and again he doesn’t really understand the classics. Just take a look at what he did to Murder on the Orient Express. In his direction, he places the camera in areas he thinks will add to the mystery of the story and will put audiences on the edge of their seats. For example, the first few minutes are shown through a security camera. Neither of the leads’ faces are shown during their initial meeting, which, if shown and well-acted, would have added an extra depth to the story. He constantly places the camera in different parts of the minimalistic house, hoping that stripes along the wall, elongated mirrors, or bird’s eye views will make audiences think, “Oo! I’m confused—nothing’s what it seems!”
At first, I had my doubts about Michael Caine taking on Laurence Olivier’s role, because he doesn’t reek of wealth and cunning intelligence, as the role requires. He was perfect in the younger role, because audiences forever associate him with Alfie, the lovable Cockney ladies’ man. However, in the remake, the role is entirely different. He’s rich, but his house is minimalistic and modern, rather than opulent and obviously belonging to the family for generations. He isn’t cunning, either, and the entire raison d’être of Laurence Olivier’s character—his need for mystery and games—is replaced by homosexuality, in a cheap attempt to make audiences think the film is cutting edge.
Jude Law’s character is also cut down and changed. His role is far more cunning than in the 1972 version, but he’s also written to be quick-tempered, disgusting, and almost deranged. He’s a very handsome man, but for some reason, he’s continually drawn to roles that make him either physically unattractive or so horrible on the inside that his outsides don’t matter. If you happen to have a crush on Jude, you might not want to see him in this movie, as he’s particularly creepy. This film actually gave me nightmares after I watched it.
Without giving anything away of the plot, I’ll express one more concern with Pinter’s script. In Anthony Shaffer’s play, the older character has a particular motivation that in turn, once realized, motivates the entire rest of the story. The remake uses the original motivation, but the way in which it’s executed is reduced in length and emotional impact. Therefore, the rest of the story doesn’t make any sense. I watched both versions of Sleuth on back-to-back evenings, and while I didn’t like the first one, I was appalled by how much I hated the second.
Kiddy warning: Obviously, you have control over your own children. However, due to language and violence, I wouldn’t let my kids watch it.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not your friend. There are strobing lights and distracting wall designs that might make you sick. In other words, “Don’t Look, Mom!”
More Michael Caine movies here!
More Jude Law movies here!
Be sure to check out Hot Toasty Rag's review of 1972's Sleuth here!