Sleuth (1972 film)
Theatrical release poster
|Directed by||Joseph L. Mankiewicz|
|Produced by||Morton Gottlieb|
|Screenplay by||Anthony Shaffer|
|Based on||play Sleuth by
|Music by||John Addison|
|Edited by||Richard Marden|
|Distributed by||20th Century Fox|
|Running time||138 minutes|
|Box office||$5,750,000 (rentals)|
Sleuth is a 1972 mystery thriller film directed by Joseph L. Mankiewicz (his last film). The screenplay by British playwright Anthony Shaffer was based on his 1970 Tony Award-winning play Sleuth. The film stars Laurence Olivier and Michael Caine, both of whom were nominated for an Academy Award for their performance.
Andrew Wyke, a successful writer of crime fiction, who lives in a very large house filled with games and life like dolls, invites his wife's lover Milo Tindle, a hairdresser of Italian heritage, to his home to discuss matters. Andrew warns that his wife has expensive tastes and so Milo should go along with an elaborately devised plan to set up a bogus burglary. Andrew would then file a claim on the insurance, and Milo would have jewels to sell to a fence. Milo agrees and proceeds with the "burglary", only to be surprised by Andrew holding a gun. The charade was, in fact, a set-up engineered by Andrew to make his rival Milo look like a real burglar, whom Andrew would then shoot in purported self-defense. The scene fades to black, at which point gunshots are heard; the viewer is left to believe that Andrew has killed Milo.
Later, Inspector Doppler arrives at the house to investigate Milo's disappearance. Andrew at first purports to know nothing, but his guilt becomes evident as the inspector collates clues, in particular blood stains and bullet holes. Frightened, Andrew breaks down and explains the entire ruse to Doppler: he set up a fake burglary, then "shot" a terrified Milo with blanks in revenge for Milo's seducing his wife. He insists that it was all "just a game" and that Milo left the house emotionally shaken but physically unharmed. Andrew insists that he has no knowledge of what happened to Milo afterwards. After finding more seemingly unmistakable evidence that a murder had taken place recently in the house, Doppler arrests Andrew for murder. As Andrew is being handcuffed, Doppler begins providing further details of the "crime" while peeling off his disguise -- he is, in fact, Milo himself, having executed an elaborate "game" of his own to get revenge on Andrew.
The score seems to be even, but then Milo states that now he wants to play another game, this time involving a real murder. Andrew is persuaded that the police will soon be arriving, and that Milo has planted evidence throughout the house that will point to Andrew's involvement in the killing of his own mistress. Andrew believes at first that this is yet another game of Milo's, but a phone call to his mistress's roommate confirms that she is, indeed, missing. Andrew then in a mounting frenzy seeks to discover where the evidence is hidden, relying on cryptic clues from Milo who is now revelling in Andrew's predicament. The doorbell rings; Milo answers it and pretends to invite the police officers in to the house, but he impersonates their voices as it becomes apparent to Andrew they do not exist. Milo had indeed executed a second elaborate "game" on Andrew, even securing the help of Andrew's disenchanted mistress.
Milo readies himself to leave, but before going he taunts Andrew about his impotence, which he learned from both of Andrew's lovers. Andrew, in a rage, draws his gun and announces he intends to kill Milo for real. Milo smugly replies that he anticipated Andrew's reaction, and that the police are on their way to the house. If Andrew shoots him, he would be effectively be caught red-handed. He turns to leave for the final time, at which point Andrew, believing him to be bluffing, pulls the trigger. Milo collapses to the floor, mortally wounded, but as he does, sirens are heard outside -- Milo had indeed summoned the police. With his last words, Milo tells Andrew to be sure to tell the police that it was all "just a game".
Shaffer was initially reluctant to sell the film rights to the play, fearful it would undercut the success of the stage version. When he finally did relent, he hoped the film would retain the services of Anthony Quayle, who had essayed the role of Wyke in London and on Broadway. Alan Bates was Shaffer’s pick for the part of Milo Tindle. In the end, director Mankiewicz opted for Olivier and Caine.
When they met, Caine asked Olivier how he should address him. Olivier told him that it should be as "Lord Olivier", and added that now that that was settled he could call him "Larry". According to Shaffer, Olivier stated that when filming began he looked upon Caine as an assistant, but that by the end of filming he regarded him as a full partner.
The production team intended to reveal as little about the movie as possible so as to make the conclusion a complete surprise to the audience. For this reason there is a false cast list at the beginning of the film which lists fictional people playing roles that do not exist. They are Alec Cawthorne (an anagram for Michael Caine, which replaces the M for a W and two Is for a T) as Inspector Doppler, John Matthews as Detective Sergeant Tarrant, Eve Channing (named after Eve Harrington and Margot Channing) as Marguerite Wyke, and, Teddy Martin as Police Constable Higgs.
Much of the story revolves around the theme of crime fiction, as written by Dorothy L. Sayers (Lord Merridew = Lord Peter Wimsey) or Agatha Christie, whose photo is included on Wyke's wall, and how it relates to real-life criminal investigations. Class conflict is also raised between Wyke, the long-established English country gentleman, compared to Tindle, the son of an immigrant from the working-class streets of London.
The film was nominated for Academy Awards for Best Actor in a Leading Role (Michael Caine and Laurence Olivier), Best Director and Best Music, Original Dramatic Score. Olivier won the New York Film Critics award for Best Actor as a compromise selection after the voters became deadlocked in a choice between Marlon Brando and Al Pacino in The Godfather after Stacy Keach in Fat City won a plurality in initial voting and rules were changed requiring a majority. Shaffer received an Edgar Award for his screenplay.
The film was the second to have its entire credited cast (Caine and Olivier) nominated for Academy Awards after Who's Afraid of Virginia Woolf in 1966 and the first where all of the actors in the film were nominated. (Virginia Woolf featured uncredited bit parts by actors playing the roadhouse manager and waitress.) This feat has been repeated only by Give 'em Hell, Harry! (1975), in which James Whitmore is the sole credited actor.
While questioning Wyke, Doppler points out that the clown costume that Tindle was wearing when he was shot is missing, though the clown's mask is later found and put on the head of the plastic skeleton in the cellar. He is probably implying that Tindle was buried with it.
In the trailer for the film, there are the scenes with Doppler laying out the evidence against Wyke as shown in the movie. They include him pulling open the shower curtains in one of the bathrooms and exposing the clown's jacket, dripping wet and apparently with bloodstains on it. This scene was not included in the final film.
On 7 September 2006, Kenneth Branagh announced at the Venice Film Festival his new film of the play, with the screenplay by Nobel laureate Harold Pinter. Caine starred in this adaptation, this time in the role of Wyke, while Jude Law played Tindle as a struggling actor. Production was completed in March 2007, and released in the UK on Friday, 23 November 2007. The remake did not use a single line of Shaffer's script, and was considered unsuccessful in comparison to the original.
- Nat Segaloff, Final Cuts: The Last Films of 50 Great Directors, Bear Manor Media 2013 p 192
- "Big Rental Films of 1973", Variety, 9 January 1974 p 19
- "Follow these clues to the original 'Sleuth'". USA Today. 10 October 2007. Retrieved 24 June 2012.
- "Sleuth (1972)". rottentomatoes. Retrieved 21 May 2010.
- Inside Oscar, Mason Wiley and Damien Bona, Ballantine Books (1986)