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Directed by :
Richard Eyre
Writing credits (WGA) : Patrick
Marber (screenplay) , Zoe Heller (novel)
Tagline : One Woman's Mistake Is
Another's Opportunity...
Cast : Judi Dench as Barbara
Covett , Cate Blanchett as Sheba Hart ,
Tom Georgeson as Ted Mawson
 Review
: Notes on a Scandal is an attempt to
make a Fatal Attraction type thriller
for the art house crowd. With a cast
that features two of today's best
actresses - Judi Dench and Cate
Blanchett - and a screenplay of uncommon
literacy, the movie nearly achieves its
aim. However, in order to propel
circumstances to a conclusion, Notes on
a Scandal relies upon a contrivance so
ugly and obvious that it's impossible to
ignore. This single glaring fault, which
is even more evident considering how
well constructed the rest of the movie
is, damages the film's narrative flow
and credibility.
Barbara Covett (Judi Dench) has been
teaching at the same British school for
decades. A closet lesbian, she lives her
life in quiet solitude, with a cat for
her sole companion. Then Sheba Hart (Cate
Blanchett), the attractive new art
teacher, catches Barbara's eye. The
older woman decides to court the younger
one's friendship, and does so
successfully. They develop a comfortable
companionability, and Sheba invites
Barbara to her home to meet her husband,
Richard (Bill Nighy), and her two
children. Then, one night while staying
late at school to watch a Christmas
play, Barbara sees something she was not
intended to witness: Sheba in the throes
of passion with Steven Connelly (Andrew
Simpson), a 15-year old student.
Possessing damning information, Barbara
considers how to best use it to earn not
only Sheba's gratitude but perhaps more.
 The
film's structure is unusual. The first
30 minutes is presented in the first
person from Barbara's perspective. This
is accomplished by utilizing a running
voiceover monologue and ensuring that
Barbara is in every shot. The voiceover
is full of observations and asides, and
effectively dispels her grandmotherly
image. By the time the movie switches to
a more conventional third person
perspective (dropping the voiceover
except in rare circumstances and showing
scenes where Barbara is not around), we
recognize that this elderly woman has
serious issues. She's also smart; what
she has in mind isn't something as
pedestrian as blackmail. Her plan is
more manipulative and cruel.
Although Notes on a Scandal does not
feature the twists and turns one often
associates with psychological thrillers,
it's not predictable. Sheba doesn't
always act as we might expect and there
are aspects of Barbara's plans that make
erroneous assumptions. Unfortunately,
everything turns on a single event that
occurs during the third act and its
clumsiness is ruinous. Not only is it
out of character for Barbara to be so
careless, but it's inexcusably sloppy.
This is not part of the novel by Zoe
Heller upon which the movie is based;
screenwriter Patrick Marber (the
playwright of Closer) and director
Richard Eyre (Iris) are solely
responsible. Heller's original ending is
bleaker and more appropriate.
 Much
of the film's credibility results from
the cast. Judi Dench once again reminds
viewers how wide her range is. Consider
that in roughly the last year, she has
played the sprightly owner of a nude
revue (Mrs. Henderson Presents), the
head of MI6 (Casino Royale), and the
twisted Barbara. She essays each role
with such conviction that it's difficult
to believe we're watching a single
actress. Cate Blanchett's part is not as
showy, but she gets an opportunity to
play a sexual being, something not often
offered to her. Bill Nighy is delightful
as Sheba's husband - sometimes funny,
sometimes rude and angry. Andrew Simpson
plays the underage object of Sheba's
affections.
The movie presents an interesting take
on the teacher/student coupling. In
Notes on a Scandal, it's the boy who is
the aggressor. He establishes an
escalating, manipulative campaign to
have sex with Sheba. She doesn't have a
strong personality, so it doesn't take
much for him to succeed. Although the
movie does not endorse sex between a
minor and an adult, it makes the point
that, especially when the child is a
male, there may be more at work than
simple victimization by an adult.
 Notes
on a Scandal contains interesting
material and, as presented by Dench and
Blanchett, the narrative gains strength
and immediacy. However, the most
important part of any thriller - even
one as upper crust as this - is the
resolution, and that's where Notes on a
Scandal falls on its face. The ending
itself isn't bad but the single act
leading to it is unforgivable. Those who
aren't bothered by this kind of
contrivance (and, in many ways, it's no
worse than what we have come to expect
from thrillers with a lesser pedigree)
may enjoy Notes on a Scandal. Others
like me will wonder why the filmmakers
couldn't have taken the few steps that
would have elevated their project to
something consistently smart and edgy.
MEDIA PARTNER
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