Kirpianuscus It is not the inspired term. but it is the most complete. because, if you know the 1955 version, the expectations are not modest. but you not discover new "clothes' of a classic but new precise nuances. it is not s competition between versions/actors/visions. but an elegant, precious equilibrium . Julianne Moore is superb as Sarah. Ralph Fiennes is the ideal Bendrix. and Stephen Rea has the science to explore the portret of the husband in right way. a film like a small gem.

evanston_dad "The End of the Affair" offered up one of the most interesting conceits to appear in any of Graham Greene's novels: a love triangle not between a woman and two men, but between a man, a woman and her faith.I'm not usually a stickler for exact faithfulness in book to movie adaptations, as I've never understood the point of making a movie if you're just going to try as closely as possible to replicate the book. However, I will admit that there were far too many liberties taken with Greene's story -- which was perfect as originally written -- for me to fully enjoy the film. What I did enjoy, however, was Julianne Moore's performance, which takes a tricky character and nails it perfectly. And I give writer/director Neil Jordan credit too. He may have made some errors in writing his adaptation, but his direction captures the tone of Greene's book flawlessly, and that's usually more important than capturing all of the plot details.Grade: B+

ferdinand1932 There is much to like and admire in this: the script is well-turned, nuanced and may actually be better than the novel in many respects; the photography is perfect in detail and lighting and renders the characters ideally.The music is extremely effective and really underlines the film because it is elegiac; it echoes the past and because memory works in fragments it reminds strongly of those special moments which are gone.It is the direction and performance which give this film real depth and emotional engagement and for anyone who has ever had someone taken or lost, it will resonate.The three main characters are all solemn in their duty, in love, in pain and in regret. It is a technique that works powerfully and is in times with the war period and with the generation that saw life in dutiful and solemn terms. It gives a pitch of authenticity to the film and the casting has worked perfectly as Fiennes does solemn like no one else in the business, and he seems just right as a writer: introverted, analytical, abstract.It is a film,(a novel) and it offers the best of people and a connection to the mystical. The truth of the real affair that provided the basis to the story was not, however; that was debauched and narcissistic, but that fact is not important with this film.

vangogh228 The obvious lack of insight shown by some of the commenters is more than merely shocking. There are so many layers, Gordian-knot twists and intricate dialog in this film that, I guess, there are many who simply don't understand the subtleties contained within it. But, then, what can one expect from those who misquote dialog and level their expectations based on their own ego, in believing that displaying unimpressibility is a sign of intelligence?One scene in particular explains it all... in which Bendrix runs limpingly, desperately, across the common in a vain attempt to catch Sara as she is driven away, sobbing uncontrollably, in a cab. When he finally does reach her, in the church, her resignation to him and his melancholy in recognizing her reason it is far too wonderful and moving to explain.Much of the dialog should keep one up at night to ponder the nature of our own existence... "Strange how much dignity there can be in a hat." But, I am sure this is lost on those who, when they attend a movie, understand only one-punch knockouts and shots to the groin as expressions of emotion.