Can a film about a forbidden wartime romance be a battle against God?
In short: Neil Jordan's 1999 adaptation of Graham Greene's novel is more than a period drama about a London affair. It is a haunting exploration of jealousy, faith, and the divine. While the central romance between Maurice Bendrix and Sarah Miles drives the narrative, the true antagonist is something far more celestial.
Set against the backdrop of London during World War II, the film follows the intense, extramarital connection between Maurice Bendrix and Sarah Miles. Their relationship, which began in 1939, is abruptly severed in 1944 following a V-1 flying bomb explosion. When Bendrix survives the blast, he is left confused and bitter by Sarah's sudden withdrawal, unaware that she has made a desperate, secret vow to God to end their affair if her lover is spared.
The narrative shifts to 1946, where a jealous Bendrix attempts to uncover the truth behind Sarah's departure. Through the eyes of a private investigator and Sarah's own diary, he discovers that his rival for her heart is not another man, but the divine. The film meticulously contrasts the physical passion of their earlier encounters with the cold, spiritual struggle Sarah faces as she attempts to reconcile her love for Bendrix with her promise to a God she is only beginning to understand.
Despite critical acclaim for the performances of Ralph Fiennes and Julianne Moore, the film faced significant hurdles. It was a box office disappointment, grossing $10.8 million against a $23 million budget. Furthermore, it became the subject of controversy regarding its rating; the British Board of Film Classification assigned it an 18 certificate due to its sexual content, a decision producer Stephen Woolley labeled as completely insane. In the United States, the film initially received an NC-17 rating before a successful appeal led to an R classification.
Ultimately, the film serves as a meditation on the nature of belief. By the end, Bendrix, who has spent the story fueled by a diary of hate, finds himself forced to acknowledge the existence of God. While Sarah finds peace in her faith, Bendrix is left to grapple with a presence he desperately wishes would leave him alone, marking a profound shift from a story of human betrayal to one of spiritual surrender.
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Sources
- Summary by Intellect · source: The End of the Affair (1999 film)
- Also: Wikidata — The End of the Affair · CC0
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