★★★ / ★★★★
Sidney Bruhl (Michael Caine) had a dark ideation. Once a successful playwright but now struggling to keep up with his reputation due to his recent flops, he came across a manuscript written by one of his former students named Clifford Anderson (Christopher Reeve). Sidney invited unsuspecting Clifford to visit his home in order to offer some advice to make the play better, murder him, and pass Clifford’s work as his own. Sidney’s wife (Dyan Cannon) had heart problems in the past but she reluctantly went along with her husband’s devious plan. It took a bit of time for me to get into this film. At first I thought the plot didn’t quite know how to move forward. I also had some problems with its tone. Did it want to be funny or thrilling or both? I wondered, could it have its cake and eat it, too? I also found the acting a bit amateurish, especially Cannon. I was aware that the picture was based on a play written by Ira Levin but her acting felt stuck in that medium. I thought she was annoying, whiny and needy–a damsel-in-distress who stuck by her husband for no good reason. However, after about forty minutes, it gained its footing and the material showed me it had intelligence. Very unexpected twists upon twists were abound but what I liked best about it was it felt like a play but it gained enough power to work in a cinematic medium. The tension became so high to the point where the exaggerations almost felt necessary. Caine impressed me because I’m used to watching him play quieter characters that are almost grandfather-like and humble. It was a breath of fresh air to see him so bitter, so angry, so flawed. His character caught my attention because it was the kind of character that valued his reputation more than anything else. He talked of sociopaths which made me wonder if he was projecting his own characteristics onto someone else. Sidney Lumet, the director, astutely used mood as a weapon to surprise the audiences. At times watching the film was like reading a novel. Just when I thought the picture was over because the mood was reaching a serene plateau, it suddenly came to life and delivered shocking punches. In less experienced hands, it might have felt too contrived or forced. Lumet’s direction certainly helped the sudden shifts in mood to feel as natural as possible. “Deathtrap” did not start off with flying colors but it is difficult to deny that it was a sublime murder mystery once it found a connection with its core. Fans of Alfred Hitchcock’s slow but compelling thrillers should eat this one up like candy.