Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
We come upon Andrew Wyke, the mystery writer, in an appropriate setting. He's in the middle of his vast garden, which is filled with shrubbery planted to form a maze. There is no way into, or out of, the maze--unless you know the secret. The better we come to know Andrew Wyke, the more this seems like the kind of garden he would have.
Wyke is a game-player. His enormous Tudor country manor is filled with games, robots, performing dolls, dart boards, and chess tables. He also plays games with people. One day poor Milo Tindle comes for a meeting with him. Milo is everything Wyke detests: only half-British, with the wrong accent, and "brand-new country gentleman clothes." But Milo and Andrew's wife have fallen in love, and they plan to marry. So Andrew has a little scheme he wants to float. He is willing--indeed, happy--to give up his wife, but only if he can be sure she'll stay gone. He wants to be sure Milo can support her, and he suggests that Milo steal the Wyke family jewels and pawn them in Amsterdam. Then Milo will have a small fortune, and Andrew can collect the insurance.
Up to this point, everything in "Sleuth" seems so matter-of-fact that there's no hint how complicated things will get later on. But they do get complicated, and deadly, and reality begins to seem like a terribly fragile commodity. Andrew and Milo play games of such labyrinthine ferociousness that they eventually seem to forget all about Andrew's wife (and his mistress) and to be totally absorbed with stalking each other in a macabre game of cat and mouse.
"Sleuth," a totally engrossing entertainment, is funny and scary by turns, and always superbly theatrical. It's the kind of mystery we keep saying they don't make anymore, but sometimes they do, and the British seem to write them better than anyone. The movie is based on the long-running play by Anthony Shaffer, who also wrote Hitchcock's "Frenzy." Both films have in common a nice flair for dialogue and a delicate counterpoint between the ironic and the gruesome.