Sleuth (1972)We play games for our amusement, something to while away the hours and give us a reprieve from the monotony of everyday life...something for sport, perhaps. But games possess an allure that is inherent in them, that for some, the purpose of the game is not for the mere divertimento--"diversion" in Italian--but to win. Yes, victory is the rush, the drug which compels others to play, to concoct elaborate scenarios employed with clever tactics and subterfuge--and who better to invent these plots and schemes than a writer of detective stories? "Who", indeed...but as every competitive player knows, for every winner, the must also be a loser.
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Sleuth (1972) is like a deconstructed detective story, stripped down to the core components. It is a story about stories, a game about games, and amuses in the same fashion as those novels of recreation for the so-called "noble minds" writ by arrogant author and games enthusiast, Andrew Wyke (Laurence Olivier). But for Andrew, amusement is his real occupation--being a best-selling mystery author just pays the bills and secures his inflated sense of importance in the rotting carcass of the landed gentry, well past the era of significance. In the other corner is his competiton, Milo Tindle (Michael Caine); rather, Milo's interests lie not in gaming, but in making an effort in good faith to get Andrew's "blessing" to marry his wife...that is, Andrew's wife. Enter motive--that would be the next beat in the typical private eye story, sure, but Milo and Andrew have a good deal of sparring ahead of them, by wit and deft displays of male pride, and we're really only in round one as Milo fumbles his way through Andrew's hedge maze. Their ostensible prize is the hand of Marguerite Wyke (Eve Channing, according to the credits), but as Andrew tips his hand, it becomes clear that while he prides himself on keeping Marguerite--not out of love, but by right of possession--it is the game and amusement of bringing humiliation unto others which really heats the coal in his stove. Andrew pushes the buttons he knows will maneuver Milo into being complicit in his scheme, one which involves stealing some jewels and making it look like a break-in; Andrew claims to have insured the jewels for such an occasion. Milo is not like Andrew in so many different ways; he does not possess the ease of wealth Andrew does, working for a living as a hair stylist, making what he can to continue to live well enough and foster his relationship with Marguerite. He is a second-generation immigrant from an Italian father, and his idea of games are not done for humiliation...rather, Milo claims to not like games much, and after his experiences in Sleuth, who can blame him. But Milo is resourceful, smart, and most importantly, underestimated by Andrew--the downfall of any opponent in games of cunning.
It should come as no surprise to anyone watching Sleuth that it was adapted from a play; this is not meant to be a critique, but rather an accolade as to the strength of the transition from stage to screen, which is not always a smooth one. The film excels in large part because of the caliber of the cast; while confined to two actors--Laurence Olivier and Michael Caine--their Olympian acting chops support the weight of the film upon their proverbial shoulders. In a somewhat ironic fashion, the casting also represents a kind of "changing of the guard", with Olivier at the height of his fame and accolades running freely, and relative newcomer Michael Caine making a splash in British film, who would garner much recognition like Olivier as time progressed. In a bit of clever revisiting of this idea, Sleuth was remade in 2007 by Kenneth Branagh, with Jude Law as Milo--who starred in remakes of other Michael Caine films, and Michael Caine cast as Andrew. Sleuth--the 1972 film here--is set entirely in and around Andrew's country home, a large house filled with a variety of antique toys, games, puzzles, and elaborate costumes, like a theater one would live in, or a museum for lifelike curios and novelties. Props like the laughing Jack the sailor, the acrobatic clown, even a bust of Edgar Allen Poe get flashes of attention from the camera, their faces, their movements--such as they are--underscoring the drama unfolding, silent witnesses to the games Andrew inflicts and also suffers in kind. A lot about Andrew and even Milo comes through in what we see or even hear, not necessarily what we are told. Andrew is obsessed with himself, listening to himself on a dictation device, surrounding himself with an audience, which while they cannot disapprove it would seem, he can force to laugh as he sees fit for his amusement. Milo has a talent for voice mimicry, intimating that this talent has served him well--in business, in life, growing up trying to pass as English, a stigma which once made evident to Andrew becomes a sore spot the pompous writer prods insouciantly. Watching Andrew and Milo trade psychological blows with one another is immensely satisfying--more so when Milo surpasses Andrew and his penchant for cruel barbs and mean-spirited jokes, and watching the game unfold is also fascinating, with twists and turns like any good detective story...you may see some of them, but watch out for the ones you never suspect.
Recommended for: Fans of a clever psychological drama, part mystery and even part dark comedy, about two opponents entering the ring; only instead of fisticuffs, they generally trade blows with wit and verbal maneuvering in this bloody game.
It should come as no surprise to anyone watching Sleuth that it was adapted from a play; this is not meant to be a critique, but rather an accolade as to the strength of the transition from stage to screen, which is not always a smooth one. The film excels in large part because of the caliber of the cast; while confined to two actors--Laurence Olivier and Michael Caine--their Olympian acting chops support the weight of the film upon their proverbial shoulders. In a somewhat ironic fashion, the casting also represents a kind of "changing of the guard", with Olivier at the height of his fame and accolades running freely, and relative newcomer Michael Caine making a splash in British film, who would garner much recognition like Olivier as time progressed. In a bit of clever revisiting of this idea, Sleuth was remade in 2007 by Kenneth Branagh, with Jude Law as Milo--who starred in remakes of other Michael Caine films, and Michael Caine cast as Andrew. Sleuth--the 1972 film here--is set entirely in and around Andrew's country home, a large house filled with a variety of antique toys, games, puzzles, and elaborate costumes, like a theater one would live in, or a museum for lifelike curios and novelties. Props like the laughing Jack the sailor, the acrobatic clown, even a bust of Edgar Allen Poe get flashes of attention from the camera, their faces, their movements--such as they are--underscoring the drama unfolding, silent witnesses to the games Andrew inflicts and also suffers in kind. A lot about Andrew and even Milo comes through in what we see or even hear, not necessarily what we are told. Andrew is obsessed with himself, listening to himself on a dictation device, surrounding himself with an audience, which while they cannot disapprove it would seem, he can force to laugh as he sees fit for his amusement. Milo has a talent for voice mimicry, intimating that this talent has served him well--in business, in life, growing up trying to pass as English, a stigma which once made evident to Andrew becomes a sore spot the pompous writer prods insouciantly. Watching Andrew and Milo trade psychological blows with one another is immensely satisfying--more so when Milo surpasses Andrew and his penchant for cruel barbs and mean-spirited jokes, and watching the game unfold is also fascinating, with twists and turns like any good detective story...you may see some of them, but watch out for the ones you never suspect.
Recommended for: Fans of a clever psychological drama, part mystery and even part dark comedy, about two opponents entering the ring; only instead of fisticuffs, they generally trade blows with wit and verbal maneuvering in this bloody game.