Rating A | Wonderful details in the erotic film “Unfaithful”

My Favorite Erotic Film Director - Adrian Lyne

Eroticism is an element that sells well in movies. However, some superficial erotic films focus too much on crude displays of the body, such as those by Tinto Brass. His films such as All Ladies Do It may have aesthetic beauty, but their pornographic nature makes them unsuitable for many women. Brass may be referred to as an erotic master, but he falls short of being recognized as a true master of film artistry.

Adrian Lyne's works, on the other hand, are different. Although his films also contain many scenes of nudity, they are not the primary focus. The story itself is at the center of the film. Additionally, his use of camera angles is very distinct - he rarely shows a panoramic view of the characters, instead opting for various close-ups and suggestive shots to depict human desire.

Now, let's analyze the film "Unfaithful " to observe the masterful techniques of Adrian Lyne in filmmaking.

A Simple Yet Difficult-to-Tell Story

The story of "Unfaithful " may seem simple - just a common affair - but telling it is not an easy task.

Connie Sumner has a loving husband, a wonderful son, and a beautiful house, but she wants more. When a handsome stranger approaches her while she's trying to hail a taxi, she becomes obsessed with him and eventually starts an affair.

Audiences tend to evaluate the values portrayed in a story, and generally, films that align with traditional moral beliefs are more easily accepted. For instance, "The Lion King" depicts a prince seeking revenge, "Titanic" tells a love story, and fairy tales often feature stories of princes and princesses.

In today's society, extramarital affairs are considered immoral, thus it may be difficult for the audience to understand and accept Connie's affair in "Unfaithful".

Without a clear explanation of Connie's motivation, the audience may find it difficult to empathize with her desire for more despite having a happy family. However, Adrian Lyne's keen observation of life has led to the inclusion of numerous subtle hints in the movie, making Connie a character that the audience can sympathize with and accept.

Details

Foreshadowing

The film begins with a serene lake and house on the screen, accompanied by soothing piano music. The water is still without any ripples. Gradually, the wind rises, and a bicycle falls down, breaking the peaceful atmosphere with a clanging sound, hinting at the changes in the main character's mundane marriage. Although this is a familiar metaphor used by many directors, it is undeniably simple and likable.

Inside the house, Connie nonchalantly remarks, "Pretty windy out," which is the first line of dialogue in the movie. Little does she know how much impact the wind will have on her life. In this movie, the wind is a symbol of fate. Connie is "shot down there like a bullet" (as later said to her by Paul Martel in the wind) and lost in the winds of fate.

Connie seems to have a happy family, but something seems off based on her conversations with her husband and son. Her husband constantly complains about "overpaying for something," and her son doesn't bother putting down the toilet seat even though Connie has asked him not to do so many times. Despite the appearance of a harmonious home, no one seems to care about Connie's feelings.

The movie includes many pillow shots, such as the cookie cutter cars in the parking lot, passengers on the train who all seem to be reading newspapers in the same way, and pedestrians neatly dressed walking on the platform heading to workplaces. These details reflect Connie's state of mind: life is too monotonous, and she longs for something new and exciting.

First Encounter

As Connie meets Paul Martel on the street, the scene is dominated by dark hues, with gray streets and old houses. Martel tells her that he lives upstairs, where there is a flower pot at the window. A young and handsome French man with long brown hair and an irresistible smile, Martel's vibrant presence brings a splash of life-affirming green to an otherwise drab setting. While an empty taxi passes behind her, fate opens two doors in front of her. Without hesitation, she follows Martel into the building, and one of the doors slams shut behind them.

At Martel's home, Connie tends to her wounds in the bathroom. Her wariness of strangers prompts her to check the lock on the door. As she turns on the water faucet, Martel rinses his teacup, and the sting of the band-aid on her wound coincides with the flame of the tea kettle, the montage between these seemingly unrelated things is skillful and clever. After that, Martel's sudden intimacy, shown when he tends to her injury, makes Connie uneasy. Before she leaves, Martel gives her a book where there a sentence "This moment is your life", a blatant flirtation for a middle-aged woman.

The following day, while sifting through the book, Connie discovers Martel's business card with his phone number. She assumes that she won't encounter him again, but now she is shaken and peeks warily behind her, even though she knows she's alone in the room.

The Second Time

Connie tries to call Martel from the subway station. After inserting a coin, she hesitates and has the coin returned before inserting again and making the decision to dial. Though nobody answers at first, the phone unexpectedly connects. A surprised Connie awkwardly says "Hello". The shots switches between her hand and face throughout the phone call, revealing her inner thoughts. Martel invites her to his place for coffee. Connie looks at the coffee cup in her hand, puts it on the phone, and agrees with a smile.

At Martel's home, he helps Connie take off her coat. The camera zooms in on his fingers gently touching her neck. Then, Martel serves Connie the coffee. This seemingly ordinary scene is made extraordinary by the director. The hot coffee makes Martel uneasy, implying that his attention isn't on the coffee and that turbulent emotions lay beneath their calm exteriors.

Sex

Consumed by her desire, Connie can't resist seeing Martel again and ultimately gives in to their physical attraction. This scene is portrayed through Connie's recollection on the train ride home, a clever choice that emphasizes the pleasure they share and showcases her complex and provocative nature. It's undoubtedly the film's most memorable scene, with Diane's powerful performance capturing every detail of Connie's flushed face and labored breaths, far surpassing anything seen in adult films.

Afterwards, Connie begins a relationship with Martel, and the director intercuts scenes of Connie's family life with those of her infidelity, set to a piano score. We know that initially, those who cheat tend to believe they can control everything and balance their family and personal desires. The director skillfully portrays this mentality and state of mind.

The Murder

When husband Edward suspects something is amiss, he chooses to remain silent until he figures out everything, despite awareness of Connie's deception. This necessary plot device reflects his restrained character and allows the story to continue. Had he been hot-headed and acted impulsively, the subsequent developments and ultimate outcome would not have been possible. It also suggests this is the calm before the impending dramatic conflict.

Meanwhile, Connie begins to feel guilty, cooking absentmindedly and making a mess in the kitchen - burnt chicken, overcooked water - reminder of Martel's spilled coffee earlier. In contrast, Edward appears more composed, which is a sharp contrast to Connie's initial infatuation with her affair and her apprehension when Edward starts to notice something. (He asks if she did something wrong and if she loves him.) This marks the role reversal, foreshadowing Edward as the main character in the replace of Connie in the subsequent plot.

Once after their trysts, Connie forgets to pick up her son from school, breaking her moral code. The film focuses on their child because he is a crucial element in Connie's psychological change, as she feels owed to him rather than to Edward. Eventually, after discovering that Martel has other lovers, Connie chooses to end their affair. Moments after she leaves Martel's apartment for the last time, Edward enters.

The climax of the film follows as Edward confronts Martel, an older man carrying the weight of his wife's betrayal, and a young, robust lover who becomes nervous when confronted by his mistress' husband. A subtle power struggle ensues throughout their conversation, perfectly balanced by the director and actors. It's not until Edward sees the crystal ball - the catalyst - that the balance is broken, and all conflicts explode in a flash.

Edward kills Martel with the crystal ball.

The End

After killing Martel, Edward overhears Connie's breakup message to Martel, leaving the audience nothing but a sigh. In the following scene, Edward and Connie embrace each other while watching their child perform at school. The bittersweet moment of their happiness leaves viewers wondering why it takes so much adversity to appreciate what's right in front of us.

Martel's disappearance and the discovery of his body bring the police twice to Connie's doorstep, and both Diane and Gere give excellent performances as they keep their secrets hidden from each other.

The movie ends with a fixed long shot of Edward and Connie's car parked at the intersection in front of the police station, leaving audiences to wonder what Edward's choice will be. It's an open-ended conclusion.

Summary

From a storytelling perspective, the genius of "Unfaithful" lies in its portrayal of the power of human desire. It's a natural inclination that proves challenging to restrain within the boundaries of moral and legal constraints . The movie straightforwardly explores the topic of desire and responsibility while avoiding moral condemnation of Connie's infidelity.

From a technical perspective, both the script and cinematography of "Unfaithful" are full of details and hints that accurately convey the power of desire.

The key prop in the movie, the crystal ball used as a murder weapon, exemplifies the superb storytelling and technical skills of the film. The husband puts a declaration of love at the base of the crystal ball, hoping his wife will discover it by chance. However, the wife gives the crystal ball to her lover, which eventually leads to the husband killing him in a fit of emotional outburst.

On the one hand, the crystal ball is beautiful, suggesting that love itself is also beautiful. On the other hand, it also indicates that a beautiful thing can also lead to tragic consequences.