HotToastyRag While I wish I'd seen Deathtrap before seeing either version of Sleuth, I can't change the order of my original viewings. The live performed play of Sleuth is an incredible experience, but the film was a total letdown. The remake in 2002 was appallingly awful, making audiences wonder why Hollywood ever created it. After seeing Deathtrap, I wondered that question even more; it was the best way to remake Sleuth--why didn't they just call it a day?In the remake of Sleuth, Hollywood thought they were being clever in reversing the cast since so many years had passed. The premise is this: an older man invites a younger man to his house for a drink. In 1972, Michael Caine played the young man, and in 2002, he played the older man. In theory, it was cute. However, after Michael played the older man in Deathtrap--a film in which an older man invites a younger man to his house for a drink-there was no need to remake Sleuth at all! The plots and themes are so incredibly similar, it's a wonder Ira Levin's original play didn't get sued for copying Anthony Shaffer's play!That introduction aside, I absolutely loved Deathtrap and found it an infinitely superior film to either Sleuth film. I realize I haven't told you anything about the plot, but it's so complex and layered, it's really best if you don't know anything about it. It's extremely tense and dark, but at the same time it's quick and witty, showing how entertaining it must have been to watch on the stage. Michael Caine, Dyan Cannon, and Christopher Reeve give incredible performances, each combining the necessary talents to perform in a play and a film. They're grand enough to communicate a very dramatic setting, but they all include subtleties in their deliveries that could only be captured by a camera. Sidney Lumet's direction must have been wonderful, for all three principle players to be in top performance.There are moments when you'll want to stand up and shout at the television, so anxious for the characters to listen to you, or for the actors to hear your compliments. Dyan Cannon tries to stop her husband from making a terrible mistake, and the expression on her face truly shows everything on her mind that she's not saying. Christopher Reeve realizes what's about to happen to him, and he masks his fear so slightly the other characters don't catch on, but not so much that the audience can't tell he's afraid. Michael Caine vacillates from every emotion he has on-hand so quickly that he seems to be simultaneously thinking on his feet and following an incredibly calculated plan-which makes this such a perfect remake of Sleuth!The older character in Sleuth has wheels constantly turning in his head, but he's also written to be posh and blueblood, something Michael Caine has difficulty pulling off. In Deathtrap, the older character doesn't have to be posh and blueblood; he has an entirely different reason for his behavior, one that makes sense and that Michael Caine plays convincingly. He runs the gamut of emotions in this role, just as Laurence Olivier did in Sleuth. Surprisingly, Deathtrap was ignored during awards season, even though each player was deserving of at least a nomination. The acting is fantastic, and the plot will have your stomach in knots from start to finish. Plus, there's an incredible amount of eye candy, with three beautiful people on the screen. Give it a watch; I highly recommend it!Kiddy Warning: Obviously, you have control over your own children. However, due to violence, I wouldn't let my kids watch it.

SnoopyStyle Sidney Bruhl (Michael Caine) is a struggling playwright. His latest Broadway play is a critical flop. He retreats to his Long Island home with his wife Myra (Dyan Cannon). He has a copy of a play called Deathtrap written by his student Clifford Anderson (Christopher Reeve). He's bitterly jealous. She wants him to produce it. The question is would he kill for a new play. He invites Clifford to the remote house and bring the original drafts. The discussion breaks down and Clifford wants to send copies of the play to various agents.There is a bit of tension with Clifford in handcuffs. The story meanders after that. It needs to build on that tension. Then comes the twists. The twists are fine but I need more tension. Sidney Lumet may be more concerned about the kiss which is not so shocking nowadays. This may work better as a play. There are some fair back and forth in the last act but I don't care about which ever way it could turn out.

mark.waltz Michael Caine is a formerly successful playwright of the macabre who has had four flops on Broadway in a row, and his latest is an absolute disaster. He sees a way for a smash hit, and it is as sinister as any of the plots of his plays. It involves murder, of course, and his ailing wife (Dyan Cannon) can't believe her eyes when right before them he seemingly murders a young playwright (Christopher Reeve). This of course leads to some surprising revelations and thanks to the presence of a nosy neighbor (the very funny Irene Worth), the twists keep coming at you like raindrops during a hurricane.There is no way to review this without giving away much, and the film should reveal its twists naturally with little being known. I will say then, that this is a clever and handsome adaption of the hit Broadway play, surprising many with a sudden kiss between two of the performers that comes out of nowhere, featuring Cannon's howling scream every time someone comes into a room. She is delightfully funny, a lot less sinister than her conniving wife in "Heaven Can Wait", yet equally as frenetic. The shot of Caine's play being performed at Broadway's Music Box Theatre reveals a play obviously so bad it is surprising that it made it there at all. Real critics come on to spoof their own television images and that gives this a realistic approach to Broadway opening night with Caine proceeding to get rip-roaring drunk, dropping a bottle as he catches a train at Grand Central Station.$52 later from his Long Island stop to his windmill home (a gorgeous set worthy of mention) and Caine is harping at his nervous wife and plotting a scheme so nefarious that you will never know what is going to come next. Reeve's character, the young playwright who becomes a "victim" of Caine's scheme, has issues of his own, and those who have any connection with the theater, whether it be professionally or like me a regular audience, will recognize the type he is playing. Caine cleverly identifies him as a sociopath, and this is where the play twists towards one up-manship, and a revelation involving the delightful North that will have you howling.A clever supporting performance by the delightful Henry Jones as Cannon's attorney is small but importantly revealing to many things going on. His high-hat pitched voice, slightly snobby nose sniffing things out around him, yet obvious compassion, makes Jones one of the more interesting character actors of his time. Actors like him can take a very small role and make their presence unforgettable.With speedy pacing by Sidney Lumet, Ira Levin's play (adapted by him for the screen) is a delightful black comedy of deception, betrayal and a surprise involving someone being exactly in the right place at the right time. Everybody is on their toes in this, sort of the murderous "Noises Off!", another comical play about the theater which would later be a movie starring none other than Michael Caine.

Neil Welch I am usually more than happy to include spoilers in my reviews. However, this is a film which I so thoroughly recommend to anyone who hasn't seen it that I would not wish to cheat the unsuspecting viewer out of any of the treats which are in store for him. So let me just offer the briefest synopsis of the set-up: Sidney (Michael Caine) is a successful playwright who has hit such a comprehensive writer's block that his career is pretty much over, although no-one knows this at present. He receives a manuscript from unknown writer Clifford (Christopher Reeve) who is looking for advice. When he discovers that it is brilliant, he begins to ponder how he might manage things so as to get his own name on it as author...Ira Levin's play rightly retains a high level of theatricality, particularly given its subject matter. It is essentially a three hander (the third character being Clifford's wife Myra, played by Dyan Cannon, and the three principals have seldom been better.Most of all, though, the viewer will enjoy the ride as this movie goes in directions which are never anticipated and elicits performances which are completely unexpected.Enjoy!