Notes on a Scandal

If you’ve had the misfortune of seeing the theatrical trailer for this film, you’d be mistaken in thinking you’ve seen 85% already. It isn’t, it’s 95%. It astounds me why distributors find the need to do this when imaginative trailers such as Little Children are much more enticing. Please stop.



Judi Dench heads up a strong cast as Barbara Covett, a Secondary school teacher seeing out her final year in the job, when a young attractive art teacher Sheba Hart (Cate Blanchett) arrives and turns her somewhat small world on its head.



Sheba’s gaining attention from all quarters but at least its adding some zeal to her otherwise dull bourgeois existence. Unfortunately some of it is coming from fifteen year old Steven Connolly (Andrew Simpson) and she can’t or won’t say no. Barbara is never far away and makes an unpleasant discovery. She soon realises that this could be an opportunity, if she is prepared to make it as one. Both women are unstable and their union is destined to be a disastrous one.



Patrick Marber (Closer) wrote the screenplay based upon Zoe Heller’s novel. Marber writes exquisitely amusing dialogue and Judi Dench gets all the best lines. She dominates every scene she is in. Cate Blanchett is competent too and is always a pleasure to watch, though she has been better.



The real problem lies in the story. While it’s meaty enough for a novel, there isn’t enough going on for a screenplay. It doesn’t go far enough and barely limps out to 90 minutes. We cannot help but feel that we may have been slightly cheated. A sub-plot is missing and more depth from some of the other characters. Bill Nighy, for example, is brilliant when he’s around but we don’t see him enough. Same goes for headmaster Sandy (Michael Maloney). All has been put to one side so the stars can carry on with the theatrics. He’s getting there, but Marber is yet to step out of the theatre and embrace film. Closer, in point, belonged on the stage.



This is still a worthwhile film with some standout performances by some of the best actors working today. There’s also a brilliant score from the ever remarkable Phillip Glass (The Hours, Koyaanisqatsi). You’ll recognise his signature tunes from the first note.


What we have here is good, but it doesn’t delve deep enough. We’re left feeling a little empty.

It’s like the main course without the side dishes.