Notes on a Scandal

Sheba Hart (Cate Blanchett) and Barbara Covett (Judi Dench) become closer and closer entwined as the latter becomes a secret-keeper of an affair between Hart and one of her fifteen-year-old Art students at their inner London comprehensive.

In many ways I was predisposed to like this film, given it starts three of my favourite actors, is based on a novel I'd enjoyed, has a screenplay by a preferred playwright, is directed by one of my heroes and features a score by a favourite composer. But setting aside all of that, it is a genuinely good film, with a sparkling sense of humour, a wry cynicism and some particularly outstanding performances, even if they do veer into the stagey at times. It's really a two-hander about the relationship between two women, Barbara Covett (geddit?) and Sheba Hart (oh yer...), who are teaching at the same school when the later begins an illicit affair with a student. The presentation of the story as being Barbara's journal is kept from the novel, with a relatively seamless transition to voice-over, which only at times threatens to overshadow the main action of the film and its third-person aspect (and Judi Dench just has the most wonderful voice). Bill Nighy plays the husband to Cate Blanchett's Sheba in the kind of role he has been obviously typecast for - though without the trademark wisecracks nor the seedy grin to accompany them in this film: he's still outstanding in what is a difficult and somewhat awkward role. Phil Davis is impressive as a sad old colleague. But on to the main event: the Dench/Blanchett showdown is staggeringly good acting; both almost unrecognisable from many of their previous roles. Dench dominates because her character does; she's onscreen or narrating almost every single moment of the film in a shabby and tempestuous glory. Blanchett on the other hand gives the impression of floating through the film and perhaps pitches Sheba on the slightly-too-naive side, but she comes good in the end for what must have been a very difficult take when she throws herself at reporters.

There are a few doubts about the film; Eyre has made enough pictures now to feel confident in using cinematic tools thought it's still a very unobtrusive direction with avoidance of the obvious. The main problem with his direction is in two moments that feel as if they were played for stage instead of screen - the break-up argument between Nighy and Blanchett and the dismissal interview between Dench and the Headmaster (though it's entirely his fault). The first is believable enough given the circumstances, but it is played too quickly and not given enough space. It is the second which threatens to overbalance the ending of the film entirely, and the Headmaster turns in a woefully over-the-top performance that simply isn't credible in the circumstances especially. Much as it did in The Hours, the score dominates some scenes, and it's not quite good enough to get away with it, though it does add to the film. Even the performance of the young boy playing Stephen Connolly (the student in the affair) is quite impressive, although at one point he does give a sub-Jack Nicholson impression which could turn comical but fortunately doesn't: saved once again by Judi Dench, who slams the door in his face. It plays almost like a thriller at times, which I think quite suits the material in a way, given it veers toward melodrama at some points, and the shift away Dench's narration toward the end of the film when it all falls apart is skilfully done.

Overall most definitely recommended for a character inhabitation which is amongst Dench's best ever, and some sterling supporting work. Worth a mention too is the fantastic screenplay by Patrick Marber, which is a really top-notch adaptation and crackles from start to finish, much like the film itself.

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