The Comfort of Strangers


Action / Drama / Thriller

IMDb Rating 6.4 10 3727


Uploaded By: OTTO
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July 07, 2015 at 10:44 PM



Helen Mirren as Caroline
Rupert Everett as Colin
720p.BLU 1080p.BLU
810.68 MB
23.976 fps
1hr 47 min
P/S 0 / 7
1.64 GB
23.976 fps
1hr 47 min
P/S 0 / 4

Movie Reviews

Reviewed by pyrocitor 8 / 10

Harold's Web

Ever wonder what it would be like to experience Paul Schrader's most famous creation, Travis Bickle, from the outside, only from the perspective of others just as unhappy and almost as weird, albeit more passably 'normal'? Look no further. Penned by the truly impressive one-two punch of Atonement's Ian McEwan (novel) and Harold Pinter (screenplay), The Comfort of Strangers is a haunting, eerie tale of lurid sexuality and obsession, the fallout of familial trauma, and the noxiously addictive nature thereof to bystanders who may not be as innocent as they seem. It's not always an easy watch (no straightforward romance involving Christopher Walken is likely to be). It's liable to leave a thoroughly unpleasant taste in the viewer's mouth, both from its sordid tale of broken humans, and the inconclusive ambiguities therein. But, like many of its thematic and spiritual filmic siblings (Don't Look Now; Last Tango in Paris), which, admittably, the film falls just short of matching up to, there's gruesome beauty to be seen therein, making it a dark but deceptively compelling watch.

Any audiences familiar with Pinter's writing will recognize how much he treats words as placeholder artifice, with the deeper truth lying behind non-sequiturs, and, especially, what lies unsaid. He excels at doing so here. For a film that, plot- wise, reads as three successive dinner conversations, dialogue is characteristically sparse, and generally more obfuscating than illuminating. Take Walken's recurring monologue: "My father was a very big man. And he wore a black moustache. When he grew older and it grew grey, he coloured it with a pencil. The kind women use. Mascara." Initially, it's used as a non-sequitur, or social stalling, but every time it's reiterated, each individual word is shown to be essentially deliberate, and tiny, nearly imperceptible character beats (monolithic but paradoxical patriarchy, homophobia, and latent, insecure violence) are unspooled, as if picking at a thread to the point of gradually unravelling a sweater.

It's a slow-burning story, and one that certain viewers not as active in inferring subtle character motivations might grow weary of. Regardless, Schrader crafts an atmosphere of supreme decadence and unease, with Dante Spinotti's cameras creeping through the smoky opulence of Venice's back alleys and canals like Nosferatu preparing to pounce on an unsuspecting victim. You almost wish Schrader had pushed things to an even more memorably expressionistic and transcendental level (as someone like Scorsese or Milos Forman might have), but Angelo Badalamenti's exceptional musical score works wonders in sounding classically elegant, yet just subtly discordant enough to make the hairs on the back of the viewer's neck stand up. There's a perennial feeling throughout of a painstakingly laid out trap preparing to be sprung, and the waiting, no matter how much Baroque sightseeing there is to be done, is increasingly agonizing.

The central quartet of cast are the binding agent which consolidate all the film's stylistic flourishes into a monstrous symphony, all perfectly in synch with the film's tone and unconventional emotional arc. Natasha Richardson and Rupert Everett are both spectacular as the young English couple travelling (or returning, as we're continually reminded) to Venice to rekindle their passion and contemplate marriage. Both deftly convey the nuances of ennui without overplaying, and, in their mutual, unexpected surge of passion, let slip essential details of far more detailed and grim characters beneath their beautifully disinterested exteriors. Still, the juiciest roles are bequeathed to Christopher Walken and Helen Mirren, and the two live up to the challenge - both are superbly charismatic and unnerving, as well as essentially human, rather than caving to the temptation to inflate their roles into Hannibal Lector human cartoons. Walken's fusion of silky, debonair, laconic charm and demented, inhuman underbelly has never been put to such good use, his every line a purr of concealed lust or threat, while Mirren, pristinely teasing ambiguous notes of either primal fear or psychotic madness beneath her tightly wound housewife exterior, manages to make an equally grating impact with less screen time. There's a theatrical quality to the airtight chemistry the four share, and even as the material fails to come to a climax that properly satisfies after the operatic buildup, they're so riveting you'll be too distracted to sweat the semantics.

A somewhat forgotten gem of skin-crawling European lust, The Comfort of Strangers may not quite stretch to the level of timeless classic, but it lingers on the viewer for days afterwards, like a sticky, shameful hangover. Whether to drink in the sumptuous Venetian scenery or the immaculate performances, Schrader and Pinter's Gothic, fatalistic romance is worth taking in on a muggy, cloudy summer night. As Richardson and Everett are sucked in by Walken and Mirren, like spiders jovially binding guests in their web, taking in The Comfort of Strangers can only end in discomfort, but the proceedings are too sickeningly infatuating to escape.


Reviewed by M MALIK 1 / 10

This Is Some Serious Crap

just what in the hell were Christopher Walken & Helen Mirren doing in this junk these two legends just wasted themselves in this junk it was pure embarrassing to see them here.

the direction of this film is nice but where is the script and story its got nothing.

a dumb unmarried couple goes to Venice to travel but their they meet a married couple who traps people.

all the sex scenes this film promises is false there is little bit nudity but no sex this is not a soft core or erotic film at all the poster is misleading.

i like classic films and old films in general but this was trash not all old films are good i was shocked when i searched and found out that this was based on a novel.

the whole film runs on lame dialogs and in the end our main hero gets killed badly end of story.

the moral of the story is don't trust anyone specially random people if you are touring another country.

the only good thing was cinematography some nice locations you can see that's it,the film tries way too hard to connect with audience but fails.

the title of this film is comfort i must say i felt discomfort after viewing this serious crap of nonsense.

i hate this film why so many distributors picked this film up is beyond me its worse then a cheap made for TV film,all the positive reviews are fake this film is boring i am warning everyone here on IMDb if you pick this disc up for rent please return it is a waste of time and money.

The Comfort Of Strangers 1990 is a terrible film avoid it at all costs my rating is 1/10:Avoid It

Reviewed by inioi 8 / 10

A dark, gripping and unsettling Venice

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.


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