Unfaithful

2002

Action / Drama / Romance / Thriller

179
Rotten Tomatoes Critics - Rotten 49%
Rotten Tomatoes Audience - Upright 68%
IMDb Rating 6.7 10 70152

Synopsis


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Director

Cast

Michelle Monaghan as Lindsay
Diane Lane as Connie Sumner
Richard Gere as Ed Sumner
Erik Per Sullivan as Charlie Sumner
720p.BLU 1080p.BLU
550.79 MB
1280*720
English
R
23.976 fps
2hr 4 min
P/S 5 / 66
1.60 GB
1920*1080
English
R
23.976 fps
2hr 4 min
P/S 5 / 33

Movie Reviews

Reviewed by a_chinn 6 / 10

Possibly Diane Lane's best leading role is sadly not her best film

Diane Lane cheats on husband Richard Gere with hunky Olivier Martinez, hence the title of the film. Based on the much smarter Claude Chabrol film "La Femme infidèle," this American remake directed by Adrian Lyne ("Indecent Proposal" "Fatal Attraction") is slickly made, but lacking in any depth, outside of the dramatic sutuation. The film was adapted by Alvin Sargent, who's written everything from "Paper Moon" to "Ordinary People" to the recent Marvel Spider-Man films and also by William Broyles Jr. (Appollo 13" and "Flags of Our Fathers"), so you might have expected a better script, and Lyne is a director who's films are typically only as good as his scripts. The Chabrol film presented a routine marriage reinvigorated by the husband's murder of his wife's lover, but Lyne's film doesn't go anywhere that dark and ends on a rather ambiguous note. What "Unfaithful" does feature is an excellent performance by Diane Lane, who really carries the water for the film. Lane makes her character's choices and actions believable, elevating what could have easily been an empty-headed Zalman King "Red Shoes Diaries" type of softcore film to something more interesting. She makes her character's inner conflict palpable and pulls the audience into her character's justifications for her choices, right or wrong. Besides Lane, the film also benefits from a fine score by composer A.P. Kaczmarek and lush photography by Peter Biziou. Lyne is an interesting commercial director who poses interesting questions and situations in his films, but most lack the depth to be considered much beyond commercial entertainment ("Jacob's Ladder" being the exception). Overall, this is a mediocre story that's vastly elevated by a strong performance by Lane. I may be biased in favor of this film because I've had a crush on Diane Lane ever since I was 11-years old and I saw her in "Six Pack" with Kenny Rogers.

Reviewed by marieltrokan 8 / 10

Morality forfeits its right to be free, so that morality can preserve its status

The importance of unimportance deserving importance, is the unimportance of importance deserving unimportance.

Importance is reality. The reality of non-reality deserving reality is the non-reality of reality deserving non-reality.

Non-reality is fantasy. The reality of fantasy deserving reality is the fantasy of reality deserving fantasy.

The fantasy, of reality deserving fantasy is reality not deserving fantasy.

Reality not deserving fantasy is reality being unworthy of fantasy. Reality being unworthy of fantasy is being worthy of fantasy.

Being worthy of fantasy is not worthy of fantasy: reality being unworthy of fantasy is unworthy of fantasy.

Unworthy of fantasy is not unworthy and not fantasy. Unworthy of fantasy is worthy and reality. Reality being unworthy of fantasy is worthy and reality.

Worthy and reality is not reality and reality. Worthy and reality is fantasy and reality.

Fantasy and reality is reality being unworthy of fantasy.

Reality being unworthy of fantasy is fantasy being worthy of reality - fantasy and reality is fantasy deserving reality.

Deserving reality is not deserving and not reality. Deserving reality is fantasy being wrong. The fantasy of fantasy being wrong is the reality of reality being right - the purity of reality being right.

Fantasy and reality is the purity of reality being right.

The purity of reality is the impurity of fantasy; the impurity of fantasy is a fantasy that's corrupt.

Right and wrong is a corrupt fantasy being right.

A corrupt fantasy is a corruption that's innocent. A corrupt innocence is an innocent violence.

Right and wrong is innocence and violence: innocence and violence is the morality of an innocent violence.

An innocent violence is the illusion of violence and the illusion of innocence. An innocent violence is the reality of innocence and the reality of violence. Innocence and violence is the morality of violence and non-violence.

Violence and non-violence is the morality of violence and non- violence.

Violence is incapacity. Non-violence is capacity. Capacity and incapacity are the morality of capacity and incapacity.

Morality is capacity. Capacity and incapacity are the capacity of capacity and incapacity.

Ability and inability create ability and inability.

Impossibility creates impossibility - possibility doesn't create possibility.

The status of morality is preserved, because the privilege of freedom has been restricted to immorality.

Morality beats immorality because morality has forfeited its right to freedom

Reviewed by seymourblack-1 8 / 10

Storm Damage

Early on in this movie, there's a storm brewing and when it ends, we're left to consider the sheer devastation that it's left behind. The "storm" in this update of Claude Chabrol's "La Femme Infidele" (1969), takes the form of a steamy affair that so intoxicates a seemingly happily-married woman that she recklessly risks the privileged life that she has with her loving family so that she can indulge in all the excitement, thrills and danger that she experiences in her encounters with a handsome stranger. Despite some moments of guilt that she can't escape, she carries on relentlessly until her husband becomes aware of her betrayal and reacts in a way that neither he nor she could ever have imagined and in so doing, destroys any hope of either of them ever being truly happy again.

Connie Sumner (Diane Lane) lives in a riverside mansion in the suburbs of New York City with her caring, good-humoured husband Edward (Richard Gere) and their 8-year-old son Charlie (Erik Per Sullivan). With a wealthy husband (who runs his own business) and a housekeeper, Connie doesn't need to be employed or to be at home too much and so spends her time shopping, socialising and fund-raising for charities. One day, when she's been shopping, she collides with a young man in a Manhattan street and grazes her knee. Because it's very stormy, the taxis are all full and she can't catch a cab to take her home. As the collision had happened just outside his home, Paul Martel (Olivier Martinez) invites her up to his apartment where he makes her a drink and gives her an ice-pack and a Band Aid for her injured knee. Before she leaves, Paul, who's a book dealer, gives Connie a book of poems as a present.

Connie finds it difficult to stop thinking about the good-looking young Frenchman who'd been so helpful and friendly during their meeting and so, when she finds his telephone number in her poetry book, she takes the opportunity to get in touch with him and this proves to be her first step on the road to becoming his lover. After they consummate their relationship, Connie feels incredibly exhilarated, turned-on and also rather guilty when she reflects on what's transpired. Inevitably though, Edward notices some changes in her behaviour at home and starts to become suspicious about what's made her become so distracted. He hires a private detective to follow her and is shocked by what the investigation unearths.

Edward finds out where Paul lives and goes to see him at his apartment. Their meeting is conducted in a very calm and civilised fashion but during a moment of disorientation that Edward suffers as he consumes vodka and tries to come to terms with what's happened, he loses control for a moment and does something that proves to be absolutely devastating for him, Paul and Connie.

"Unfaithful" is compelling to watch because it illustrates how a woman who has everything that society deems to be important and desirable (i.e. wealth, a privileged lifestyle and a loving family), is willing to risk everything to satisfy her most basic needs. It's also a cautionary tale about the dreadful consequences that can follow on from adultery, sexual obsession and deceit.

Adrian Lyne's treatment of this story lacks the tension, subtlety and sophistication of Claude Chabrol's version and instead focuses more on explicit sex scenes, some top-quality photography and the interesting use of symbolism at various points. Probably though, the movie's strongest feature is its cast and their impressive performances with Diane Lane and Richard Gere both superb in their lead roles and Olivier Martinez very naturally displaying the charm and flirtatiousness that made his character so irresistible to Connie.

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