Purely Joyful Movie!

Good concept, poorly executed.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Deciding to confront the husband of his longtime mistress after she reveals that she has let on about their affair, a British book publisher is surprised to learn that the husband has known of the extramarital affair for years in this quiet yet intense drama from the pen of Harold Pinter. The film intriguingly unfolds in reverse chronological order, beginning with the aforementioned confrontation and then flashing back further and further in the past to examine how the affair managed to develop to its current point. Some have criticised this narrative style as a gimmick, but on the contrary, it fits in incredibly well with the publisher's shock over the husband (also a longtime friend) knowing about the affair; it almost feels as if he is searching his memory for hints of the husband being clued into the affair that he may have missed at the time. Whatever the case, Jeremy Irons (as the man having the affair) and Ben Kingsley (as the knowledgeable husband) deliver pitch perfect performances throughout with Kinglsey subtly radiating animosity in the flashback scenes - particularly a restaurant luncheon - something all the more pronounced due to Irons being so ignorant of it and so conceited to believe that nobody knows of the affair. Patricia Hodge is less effective as the woman in the love triangle, never all that alluring; Dominic Muldowney's music is sometimes overbearing too. Generally speaking though, this is a handsome production as well as a testament to how much a film can achieve with minimal sets, lots of dialogue and an ending revealed at the beginning.

I will not read any of the reviews for this movie (yet): I want to write my own. I saw this movie in my mid 20's (I paid to see it in a dark dingy theater): back then, it was somewhat wasted on me. Now, in my mid 50's, I suddenly recalled it, and realized what a chord it strikes (which is why I am giving it a rather high score). I won't be saying anything new here: it documents the disintegration of a wonderful relationship between a couple, but documenting it from present day, and going gradually backwards in time, up to the moment of the very first touch and kiss. If I can find this movie - I will see it again. PS: I was surprised that when I did a search of "Betrayal" on the IMDb database this movie did not show up: I had to find it indirectly by searching for "Patricia Hodge".

A top reason I come to IMDb is to learn how other folks experienced and interpreted a movie I just watched. It is my belief that art takes place between a person and the movie/painting/dance/book. Without a viewer, the piece isn't seen and so doesn't exist as art. Without a piece, the viewer doesn't see anything and again there isn't art. I really enjoy reading the different views/the different pieces of art.And now back to the film...I didn't experience this movie as being told from Robert's POV, nor did I feel Ben Kingsley's Robert "as sweet and innocent as a new-born babe." Robert was tightly wound and rather frightening. At times, his eyes held quiet menace--and indeed we do learn he was capable of violence--and he played cruel mind games with Emma and Jeremy.I was quite surprised by Jeremy Irons performance. His face is relaxed and his eyes guileless; emotions clearly expressed in the movement of an eyebrow. When Jerry declares his love for Emma he holds nothing back. He's passionate, charming, clumsy as a schoolboy and real...oh so very real.No one is without fault or blame. There isn't a paragon of virtue or an innocent bystander. They're just people, regular people, like the rest of us.The film woke up memories of passion--the heart-pounding gazes, skin flushing red and hot, bones melting to butter with just the touch of hand, the wild hunger, the frisson caused by clandestine meetings.....sigh....I'm an old, broken-down dying woman, and I thank the writer, director and actors for making the movie and reminding me of my salad days. I shall now walk my dog under colorful oak and maple, bundled up against the cold and wearing a slight smile.

Kingsley is masterful as Robert, the successful publisher, who puts in delectable perspective the fact that he is also a feckless and cuckolded husband. Patricia Hodge, a beautiful and talented British actress whose impressive body of works rarely make it to this side of the pond, is utterly perfect as the embodiment of Emma. Jeremy Irons is fine as well, although not quite as outstanding -- and that may say it all right there. The dialogue is pithy, ironic, sardonic, dry, brittle, and pointed -- vintage Pinter. But, the central plot device of starting at the latest point in time and have successive scenes show what came earlier, seems a bit forced and gimmicky -- although the excellence of Patricia Hodge's eyes in the final scene makes all of it worthwhile. Altogether, I'd rate it 7 of 10 -- certainly worth seeing.