Just some film musings of a more succinct, spontaneous and sometimes seditious nature:

Saturday, February 25, 2023

Recently in our own Facebook movie chatroom (all readers are encouraged to join here: https://www.facebook.com/groups/902349343110685) a member posted a still of actress Diane Lane in the motion picture

Unfaithful (2002)

which incidentally is a remake of La Femme infidèle a French film by Claude Chabrol. I wrote in the comments section that Diane Lane’s performance in this film made my Top Ten Treasured Performances by an Actress Honourable Mentions. Another member who challenged her inclusion in my “runner up” category went so far as to exclaim: “Are you sure you don't like Lane in this film more because she's stretching outside of her comfort zone and you're impressed by it as opposed to her display of acting chops? Wouldn't blame you by the way. Just because you try something different doesn't make you a better performer.”

… which prompted my response:

“Well, much of any performer's performance depends on the part they are playing (which is usually outside of their control). The explorational depth an actor can go to, for instance, sets a limit that only a few can trespass. Here we watch Lane run the gamut of conflicted emotions even when she's by herself. To answer your question, it is most definitely her acting chops that are on full display here: the blossoming feelings for someone who provides a newly discovered sexual awakening, the guilt she wrestles with over her infidelity, and a sincere devotion to her husband and son when she decides once and for all to give up her affair. When later, she finds that hidden reserve of endearment, we are privy to a remarkable catharsis perfectly suited to Diane Lane’s expressive acting style. (I actually think this actress tends to overplay her parts when she's typically cast in dreck like Murder at 1600 (1997) or worse Jack (1996)). All of these ripped apart feelings she's experiencing in Unfaithful we can read on her face and hear in each and every word spoken. And they all ring true. As to your last assertion, I would counter with: just because she finally has a part that allows her to almost single-handedly carry the dramatic weight of a film, doesn't mean she hasn't done so most assuredly. I don't blame Glenn Close for her character's sudden dive into indecipherability in the same director's Fatal Attraction (1987). At the same time, it certainly doesn't allow the actress to express anywhere near the complexity of genuine feelings Diane Lane has in Unfaithful.”

Some added thoughts:

Adrian Lyne’s smooth and contemplative direction here is uncommonly poised for this director. The film’s tempo is perfectly judged as is the balance between eroticism and intimacy. Unfaithful’s lyrical quality is augmented by Peter Biziou’s enchanting photography, Anne V. Coates’ (who also cut Lawrence of Arabia) precise editing and Jan A.P. Kaczmarek’s delicate score. In terms of dramatic development, the narrative falters after Richard Gere’s character discovers the affair, however, this flaw is mostly offset by Unfaithful’s subtle nature and modest ambitions.

All responses are not only welcomed but encouraged in the comments section below.

Hope to see you tomorrow.

A.G.

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