Notes on a Scandal (2007)

Directed By: Richard Eyre
Cast: Judi Dench, Cate Blanchett, Bill Nighy, Tom Georgeson, Michael Maloney, Joanna Scanlan, Shaun Parkes, Emma Kennedy, Andrew Simpson, Juno Temple, Max Lewis
Released: 02-02-2007

When I first heard about Notes on a Scandal, it seemed to me a little too like so many other films that any appeal was quickly lost. And it’s true; there is a certain familiarity with this storyline and narrative arc. But, based on Zoë Heller’s book, and directed by Richard (Stage Beauty & Iris) Eyre, the film has a refreshing angle on a genre which has little new to say. The real quality though derives from the two central performances. Judi Dench is magnificent in an against type character as the dishevelled, lonely Barbara who develops an unhealthy relationship with Cate Blanchett’s flighty, carefree Sheba. Barbara is a strict dragon of a teacher, the kind everyone remembers from school, and the kind most teachers tend to avoid. Sheba, an art teacher, is new to the school and so welcomes the support and friendship of Barbara. The interplay between the two is amazing; Judi Dench plays the reserved, stiff backed teacher with such conviction that every lip curl or eyebrow raise gives away a wealth of feeling and opinion. Blanchett is playing one of her most seductive roles, and its easy to see how she manages to inadvertently lure Barbara to her, as well as the 15 year old student Steven Connolly, an adequate, if not amazing performance from Andrew Simpson.

What the film handles well is the point of view. This is Barbara’s story, her voiceover, extracts from her obsessive diary notes, shepherd us through the story, drawing us in with her charming wit. This way we never see the seduction of schoolboy Connelly. When Sheba is finally caught we learn about the events from Sheba’s point of view. A few cleverly chosen moments which hint at a relationship hard to fathom, both for Sheba and the audience? What is learnt though is that despite her oblivious ideas as to why she has begun this sordid, illegal relationship, she is somehow drawn uncontrollably toward this 15 year old boy. Sheba, in her eyes, is a much the victim as Steven. A realisation Barbara takes full advantage of. Speculation can never enlighten us to this affair, and Barbara, who at first reacts like the cuckolded lover, quickly learns that this revelation can bring her closer to the unhealthy relationship she really desires. The triangle which is created between Barbara and her unhealthy infatuation for Sheba, and Sheba’s unhealthy infatuation for the young Steven creates a unique and interesting twist on the story. Ironic that the age gap between Barbara and Sheba could be very similar and yet for Barbara, she is as deluded about their prospects as Sheba is for Steven. Never able to see the tragedy which will befall her as she can see it befalling Sheba.

As the story progresses we gradually become immersed in Barbara’s live and her obsession becomes more desperate and controlling. Initially Barbara is invited to lunch and when she completely misjudges the formality of the meal, she seems vulnerable and weak. But her sharp, judgmental voiceover contrasts and we see what she envies and desires in Sheba. Dench is marvellous in these moments. The silent gazes at the bourgeois lifestyle of Sheba and her husband Richard (brilliant, if underused Bill Nighy) along with their young children, Polly, who is around the same age of Connelly, and Ben, their downs syndrome child. But as the story progresses and especially when Barbara has the leverage she seeks, the family becomes distressed at her constant visits, and Sheba struggles to keep her dark secret from her family.

But this story is only heading in one direction, and when Barbara’s cat falls ill everything begins to come apart at the seams. The devastating loss of Barbara’s cat not only compounds her loneliness and vulnerability but when she pleads with Sheba for comfort and finds their relationship is not what she had hoped; we see a vicious, vindictive side to Barbara. That of a lover scorned.

When the final reel roles both Sheba and Barbara have been on the end of shame and ridicule. Sheba must face her family, and Barbara must acknowledge her past, the truth of it anyway. Eventually both characters pay for their acts but as the film ends it seems Barbara is still longing for that which Sheba failed to give her. Destined no doubt to repeat her longing for intimacy.

Two stunning central performances brilliantly written by Patrick Marber give the film a weight of subtlety and subtext. And the mature direction by Eyre lends the film a fresh original slant which propels it toward the art house mentality which is usually missing from these everyday thrillers.