Novelist Catherine Tramell is once again in trouble with the law, and Scotland Yard appoints psychiatrist Dr. Michael Glass to evaluate her. Though, like Detective Nick Curran before him, Glass is entranced by Tramell and lured into a seductive game.
Connie Sumner has a loving husband, a beautiful home, and a wonderful son, but she wants more. When she's approached one day by a handsome stranger while trying to hail a taxi, she becomes obsessed with him and eventually starts an affair. But her selfish actions soon catch up with her...Written by
As Constance is driving to the city in the rain, the license plate number on the front of the SUV is different than the number on the rear plate. Later in the film, though, the front plate number has changed to match the rear. See more »
In the "Full Screen Special Edition" love scene at approximately 55 minutes, Ms. Lane's breasts are fully exposed very briefly before being cupped by Martinez's hands from behind. The wide screen version chops off the bottom of the frame thereby removing the full exposure. See more »
I have read alot of reviews here that expressed displeasure for this film based on the notion that this was basically "softcore porn for housewives" and had nothing new to offer it's audience. Ok, granted; this is not the most original film/script ever written, but I think that many reviews (both Professional and Ametuer alike) have missed the point of this film. Behind the obvious guise of a morality tale showing what can happen if you stray from your marital vows, there is a rather amazing piece of art to be seen. This film is not about marital infedelity, but, rather, about DRAMA. This is what we in the Theater refer to as Drama As Art, meaning that the plot is less important than the impact that the various plot points have on the characters, creating more and more and more drama as the story unfolds. As is the great ballets or stage plays ('Giselle', 'Whose Afraid of Virginia Wolf', 'Swan Lake' 'A Streetcar Name Desire'), the DRAMA is the star of the production, not the actors or the plot lines.
And in this respect, 'Unfaithful' excells! Watch carfully as the world slowly turns itself upside down and rips itself to shreds around these two people based on a SINGLE MOMENT IN TIME (the first scene outside of his apartment: Should she go in? Should she go home? One choice, one mopment in time, a world of difference). Based on her choice(s), the drama begins to build to a point when, at the end of the film, the DRAMA is the star, not Geer and Lane. And Drama does a fine job holding this otherwise middle-of-the-road film above the frey.
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