Absolutely Brilliant!

A Masterpiece!

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

An old-fashioned movie made with new-fashioned finesse.

The End of the Affair (1999): Dir: Neil Jordan / Cast: Ralph Fiennes, Julianne Moore, Stephen Rea, Ian Hart, Jason Isaacs: Overrated spectacle where it seems to justify an affair where a man sits at the woman's sick bed at the privilege of her husband. The problem is that the affair never ends but it glamourizes adultery for the sole purpose of showing two irresponsible people having sex. Ralph Fiennes and Julianne Moore play the two we are egged on to pity. Her workaholic husband consults him and admits his wrongs but his reaction isn't believable. Production is top notch with its 1940's galore. Skillful directing by Neil Jordan who has made better films such as In Dreams and Michael Collins. He also directed a controversial film called The Crying Game. Fiennes and Moore are hardly sympathetic even when tragedy hits. Stephen Rea plays the husband who retorts to reasons that do not seem likely. It is one thing to feel guilty within a marriage but it is another to stand back and permit an affair as right. As a result this highly praised film becomes nothing more than a tedious showcase bent on being an art house peep show. While the film has its defenders it also should be noted that its portrayal of sex overrides any message it hoped to get across. It should have examined guilt and regret instead of heaving those emotions on me as I left the theatre. Score: 2 / 10

If you like love affairs, possibilities and sacrifice, you will find this amazing movie a charmer. You cannot go wrong with Ralph Fiennes and Julianne Moore on the screen. It palpates with sexuality and beauty.No matter what your moral stances on the subject, this is possible reality in times of war. Just a wonderful story. Amazing acting and performances.For the women, Moore's wardrobe is gorgeous. If you love 40s clothing, you will adore hers. Every time she appeared on the screen I was moved by her face and simplicity. Fiennes spent most of the movie, angry and brooding. He is so believable all the time. He never lets his guard down. He is gorgeous. The direction was special and so moving. Wonderful movie.

Based on a Graham Green novel (which had been filmed previously with Van Johnson and Deborah Kerr in 1955), this story of tortured love is beautifully appointed and creatively directed, but also tends to be very one note and dour. In WWII England, Fiennes is a handsome author who is using statesman Rea as a research subject for an upcoming book. When Rea shows little interest and hasn't much available time, he suggests that Fiennes spend some time with his wife, Moore, in order to get her viewpoints of his life and career. Unfortunately, this leads to a hot and heavy affair as Fiennes awakens passions in Moore that Rea hasn't ever even tried to ignite. The couple enjoys a clandestine romance, meeting frequently in less-populated buildings during the Blitzkrieg and creating their own fireworks until one day, following a particularly nasty explosion, Moore refuses to see Fiennes again. The reasons why are shrouded in mystery as both Fiennes and the audience attempt to uncover what has changed and why. Fiennes is understated, but good, in his depressed role and doesn't shy away from the surprisingly vivid love scenes. Moore looks incredible throughout, her hair, face and figure melding beautifully with the period clothing and hairstyles. She also gives a varied and compelling performance, sporting a British accent that has few faults (one of them being her pronunciation of the word "God", for some reason.) She, like Fiennes, has no problem conveying the physical lust of her character. Rea is effective, but displays the same hangdog expression for virtually the entire movie. Hart enjoys a captivating and amusing role as a dogged private investigator with some interesting methods and conjecture. Isaacs, who would later play a vicious villain in "The Patriot", does what he can with the fairly colorless role of one of Moore's confidantes. The film has a lovely look to it, rain and all. The settings are attractive, the clothes are fine, the camera-work is creative, as is the editing and the atmosphere is, at times, palpable. However, the downbeat material is presented in a way that has very little variety or relief. This somewhat plodding approach (not helped by the overriding, insistent score by Michael Nyman) may be off-putting to viewers who aren't captivated by the stars or who aren't invested in the mystery. Ditto the religious angle, which makes its presence known eventually. Fans of tormented romance stories should find it enjoyable.

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.