Christopher Walken is perfectly cast as the enigmatic Robert in Harold Pinter's adaptation of Ian McEwan's novel: The Comfort of Strangers. Like many of Pinter's stage plays, including The Caretaker and The Birthday Party, the script builds slowly and deliberately and is very talky. Walken and wife Helen Mirren as Caroline feign interest in tourists who are at a crossroads in their troubled relationship: Rupert Everett (Colin) and Natasha Richardson (Mary). The couple "happens" upon Walken one night; he finds a late night bar open, and proceeds to mesmerize the couple with stories of his life. At one point, Richardson asks Walken about himself, and he simply looks at her, avoids answering the question, and proceeds as before. The couple are unable to find their way back to their hotel, and Walken profusely apologizes for keeping the couple up so late that he invites them to his house for dinner when he "bumps into them" again.
Once at Walken's home, things begin to unravel as Everett and Richardson become ensnared in a wider plan. Are they naive, ignorant, or just too self-absorbed to realize what's unfolding? Walken and Richardson keep the viewer interested in the film. Mirren, although usually interesting, appears miscast here, and Everett doesn't generate enough feeling for Richardson for us to care enough about him or their relationship. Despite the Venetian locale, the film is tedious at times even though Pinter's dialog compels the viewer to watch. The film doesn't give viewers enough time to digest its ending, as it is rather abrupt. As with some of Pinter's writing, some parts are greater than the whole. Due to the last lines Walken has, one gets the idea that Pinter intended to dupe the viewer in the same manner the couple was in the film. **1/2 of 4 stars.
Once at Walken's home, things begin to unravel as Everett and Richardson become ensnared in a wider plan. Are they naive, ignorant, or just too self-absorbed to realize what's unfolding? Walken and Richardson keep the viewer interested in the film. Mirren, although usually interesting, appears miscast here, and Everett doesn't generate enough feeling for Richardson for us to care enough about him or their relationship. Despite the Venetian locale, the film is tedious at times even though Pinter's dialog compels the viewer to watch. The film doesn't give viewers enough time to digest its ending, as it is rather abrupt. As with some of Pinter's writing, some parts are greater than the whole. Due to the last lines Walken has, one gets the idea that Pinter intended to dupe the viewer in the same manner the couple was in the film. **1/2 of 4 stars.