Richard Chatten Art movies often resemble sexploitation films with plusher production values, and the elegantly depraved Walken & Mirren in 'The Comfort of Strangers' strongly recall Bowie & Deneuve in 'The Hunger'. Some of the set pieces like Walken's picture gallery of photos of Rupert Everett could have come straight from an Italian 'giallo' of the seventies; while the conclusion would have been 'rationalised' by Jesús Franco as a vampiric rite rather than as the culmination of homoerotic infatuation.

inioi Sometimes it happens that couples, when the relationship does not work, decide to make a trip as last resort, to see if it can be fixed or to make a decision. However, what happens on the trip becomes unexpected.The role played by Miranda Richardson and Rupert Everett is a modern, relatively intellectual couple, but within normal range. So far so good. The turning point comes when they meet a weird and unreliable Christopher Walken, and unexpectedly they are influenced by his gloomy talks. Here, as in other Harold Pinter's scripts, lies a subliminal psychological manipulation. The reason why an adult and responsible couple is mysteriously tricked, remains unknown. But the fact is that it seems to be a release of repressed behaviors when in contact with Walken/Mirren.They enter into a state of unconcern and greater sense of freedom. Still, they try to avoid the presence of Walken, but seems to be a higher power, and inevitably, end up being his guests.The nightly, intriguing romantic, yet eerie atmosphere is masterfully portrayed by Dante Spinotti's cinematography. This, along The mystery and beauty of Venice will help to generate uncertainty and disturbance about their fate.8,5/10

Manal S. One naturally expects nothing less than that when one watches a Harold Pinter screenplay turned into a film. If you are not familiar with Pinter's plays then you might be with his screenplays The Servant (1963), The French Lieutenant's Woman (1981) and Sleuth (2007). Pinter's most prominent trademark is his ability to render his screenplay adaptations completely independent of their original text. In other words, his Pinterisque touch does not transform but rather creates anew.The Comfort of Strangers (1990) is based on the Ian McEwan's novel of the same name. Basically, the story is about Colin and Mary, a young couple who travel to Venice on a vacation to think about their future together. In Venice, they encounter an older couple, Robert and Caroline, who eventually turn their vacation and relationship upside down. I do not want to rant about how different Pinter's screenplay is from McEwan's novel. This is a closed deal. What strikes me as supremely beautiful is how Pinter manages to bring to light such psychological intensity and incendiary conflicts using the subtlest language imagined. It is almost like watching poetry in motion if that makes any sense.It is out of the question that Pinter would not have accomplished that effect without Paul Schrader's exquisite talent, who is a screenwriter himself by the way (does Taxi Driver and Raging Bull ring a bell?). Schrader succeeds in giving Pinter's world the required mystical substance; the long and medium shots of the charming Venice, the camera pauses, the movement of actors, the choice of subliminal music… it all contributes to creating this metaphysical atmosphere felt only in classic paintings. Have you noticed the similarity between shots of Mary and Colin in bed and the paintings adoring the walls of Robert's apartment?… You're welcome.The gender and power conflict that takes place in this kind of world is all symbolic and is expressed in allusions rather than direct words. Colin, played to good effect by Rupert Everett, is meant to be beautiful in picturesque way akin to that of Greek statues. His beautiful masculinity is to be contrasted with Robert's (played by the genius Christopher Walken) grotesque masculinity. Same can be said about Mary (Natasha Richardson) and Caroline (Helen Mirren) who represents two different aspects of femininity: passivity and servitude. The encounter between the young couple and their older counterparts might seem a little bit awkward in realistic narrative terms. Like seriously, who would go sleep at a strangers' house and let them take their clothes away? However, in symbolic terms, this confrontation is necessary to highlight the gender fluidity and power conflict in any relationship. Robert and Caroline are the distorted mirror that Colin and Mary see themselves into. They see the dark side of who they are and their future demise. The image they see in the mirror terrifies them and subconsciously pushes them to change to the opposite – to exchange roles. Colin sees in Robert the extreme end of masculinity and power he has been trying to practice on Mary. He becomes threatened and retreats to his beautiful, feminine self (something that Caroline and later Mary keeps referring to). Similarly, Mary sees in Caroline the extreme end of her docility and indecisiveness. She also becomes threatened and embraces her masculine self. This subversion of roles is quite evident in Colin and Mary's later sexual encounters and fantasies.Whether this change was necessary or not and whether it has been brought about by the wrong catalyst (Robert and Caroline) or not are all questions Pinter leaves us with to ponder on. I do not care about the answers of those questions as much as I care about how enlightening and fascination watching this film has been.

Gino Cox "The Comfort of Strangers" is a beautiful film and has aged well in the twenty-five years since its production. The pace is a little slow by contemporary standards with leisurely transitions. Action choreography and special effects are slightly dated. However, it still feels like cinema. The acting is solid, particularly by Walken, whose character is complex. The film is a bit difficult to classify. Various authors, including McKee, Snyder and Hicks have proposed taxonomies of film genres. Snyder's list of ten story types is probably the most easily accessible for novices. TCoS doesn't quite fit into any of his categories, although it has elements of Monster in the House, The Golden Fleece and Buddy Love, with a touch of Whydunit. This is the weakness in TCoS. The structure doesn't fit our expectations either at the broad level suggested by Snyder or at more detailed levels suggested by Joseph Campbell or by dramatica theory. Walken plays a conflicted character who is supremely comfortable in his own skin, even as he relates amusing tales of a troubled childhood. The film has homoerotic and sadomasochistic undertones but they aren't explored sufficiently to allow the audience to understand how they relate to the story or motivate the characters. While Walken's character is complex and intriguing, his actions seem contrived rather than grounded in a clearly defined psychological makeup. The climax is surprising and shocking, but doesn't feel as if it fits the logical progression of prior scenes. It needs more interaction between the two couples. The film is like a ride through the country in an open convertible. The journey is pleasant and filled with interesting sights and experiences, but it doesn't really lead you to where you want to be.