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WEEK IN REVIEW
Tuesday
Two suspects sought in Everett shooting that in...
School levies in Snohomish County all passing, ...
Police seek witnesses in two accidents
Monday


Lynnwood woman knew area's stories long before ...
Everett rethinks boutique wineries
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Sunday


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Saturday


Olympics are in the air
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Edmonds woman leaves gift of millions
Friday


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Thursday


4-car police pileup in Everett under investigation
Edmonds educator, famous announcer dies
Bill would suspend limits on tax hikes
Wednesday


Citizenship classes: All for a better life
Many Snohomish County kids haven't had second d...
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CONTACT THE HERALD
Melanie Munk, Features Editor
munk@heraldnet.com
 
Published: Friday, March 21, 2008

'Married Life': Characters count as much as suspense

Using limited means, "Married Life" conjures up a particular moment in the late 1940s. This is not a big-budget movie, so the details -- highball glasses, handsome clothes, cigarettes -- conjure up the period.

That's one of the key attractions for this unusual, grown-up movie. It's based on a 1950s novel called "Five Roundabouts to Heaven" by John Bingham, a man who was long involved in the British secret service (and mentored John le Carre; in fact, le Carre says he modeled his famous spy George Smiley after Bingham).

The title change suggests that director Ira Sachs has more on his mind than the suspense plot. But the suspense is rather well-handled.

A successful man, Harry (Oscar-winner Chris Cooper), is disenchanted with his marriage. He confides to his best friend Richard (Pierce Brosnan) that his wife Pat (Patricia Clarkson) lacks soul. In fact, she's mostly interested in sex.

Poor Harry has grander needs, which are now focused on a young war widow, Kay (Rachel McAdams, of "The Notebook"), with whom he's having an affair.

This would be easy to shrug off as a midlife crisis, except that Harry is convinced his wife couldn't handle a divorce. It would be much kinder, he concludes, if he just quietly killed her.

There's another complication, which is that Richard, a rogue of the highest order, is also smitten with Kay. Harry, not the sharpest tool in the shed, doesn't suspect a thing.



Director Sachs, who made the fascinating mood piece "Forty Shades of Blue," takes a different tack here. The movie hits the eye like a studio movie of its era, with a foursquare, slightly over-lit look. In some shots, Pierce Brosnan looks exactly like Fred MacMurray in the classic film noir "Double Indemnity."

Yet the attitude feels modern and open. The characters played by Brosnan and Clarkson, in particular, are intriguing beyond the machinations of the plot, people whose attitudes belong in a different era.

Strange film, but its low-key approach plays well. And it continues Brosnan's terrific post-007 run (including "The Matador" and "Seraphim Falls"). He still seems to be wearing the excellent threads from the Bond days, and he still knows how to handle a martini.

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