There will be few film aficionados who will not jump at the chance to see Judi Dench and Cate Blanchett perform together, no matter what the subject matter.
Although the uncomfortable context of teacher/student sex will keep some away, in Richard Eyre’s journey into the world of obsession and control, the two Oscar winners do not disappoint. They are vitally present in every scene and completely consistent in their characters and messages from beginning to end.
Ms. Dench brings her stony, reserved James Bond “M” personality to bear on the character of Barbara Covett, the iron maiden school teacher in a crumbling working class London secondary school nearing retirement and not looking forward to her isolated, lonely future.
Ms. Blanchett plays Sheba Hart (the name says it all), the artsy pottery teacher who is giggly excited about the teaching world and at the other end of the social spectrum from the retiring Barbara. Sheba is open to all possibilities, especially those that offer even a left-handed escape from her mismatched hubby and strained family life.
The fact is, Sheba wears her heart on her sleeve. Although hubby Richard (Bill Nighy—‘Love Actually,’ ‘Constant Gardener’) is friendly enough at first meeting, Sheba seems to have a weak spot for infatuations, especially with younger men.
In high school, this can be a problem.
Enter Steven Connolly (Andrew Simpson) a student who appears to have not only a predilection for older women, but an extraordinarily developed talent for seduction as well. This leads us into the now-familiar quandary of “who-is-using-who” as the student and teacher seem to exchange roles randomly with each having only marginal control of their mutual juggernaut.
Into this steps Judi Dench. At first screen writer Patrick Marber and novelist Zoe Heller have us respecting senior educator Barbara Covett. If she is cynical she is at least honest and brings her experience, and strength, to bear when requested.
But as time goes on Dench develops her character into a woman who is entirely too withdrawn and bitter over her lot in life to be completely normal. In fact, her increasing loss of control over her destiny is transmuting into the ultimate control freak obsession. Her strength is becoming as scary as a chain saw in the hands of the village idiot. She seizes on Sheba Hart as the bright spot in her future and stalks her with intimate knowledge that could destroy everything the younger teacher has. As the two circle and parry, when the game becomes manifest only one can be left standing.
So what is the moral of such a tale of mutual assured self destruction?
If it is that we shouldn’t stalk or blackmail each other, that is fair enough; but the talent at work in this film goes far beyond such an obvious lesson.
Nonetheless, the pervasiveness of the manipulation of the frustrated high school teachers in the story may tell more of a tale than immediately meets the eye. The students, while appearing in subservient positions, actually have it all going for them. Their youth and dreams stack the cards in their favor, while the reality closing in on their superiors seems always at work to make them old before their time.
In the end there is reconciliation and a mutual agreement to move forward, after the price of indiscretion is paid, of course.
The great original score by Phillip Glass envelops the audience in premonition as the pressure mounts and it becomes obvious that the truth will out. The superb cinematography of lenser Chris Menges (Oscar winner for ‘The Mission’ and ‘The Killing Fields’) brings us in from the streets of working class London directly into the lives of the characters as they play out their destinies and confront their devils.
In spite of subject matter that may be considered depressing and even exploitative by some, this story is nothing if not an excellent vehicle for the most tragic guilt ridden self-study around.
Thoroughly entertaining from beginning to end.
Notes on a Scandal
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