The Comfort of Strangers
Christopher Walken said in an interview that he kept the clothes he wore in this movie designed by Georgio Armani.,Robert: Let me tell you something: My father was a very big man. And all his life he wore a black mustache. When it was no longer black, he used a small brush, such as ladies use for their eyes. Mascara.,Rupert Everett gets second billing over Natasha Richardson on the opening credits of international prints while Richardson gets billing above Everett on American prints.,Featured in Siskel & Ebert: Postcards from the Edge/Saving Grace/White Hunter, Black Heart/After Dark, My Sweet (1990),Amorevole
Written by Pino Massara, Vito Pallavicini and Vittorio Buffoli
Performed by Nicola Arigliano,This Paul Shrader movie is a 'must see' for anyone who's enjoyed 'Don't look now' by Nicholas Roeg. Once again we're back in Venice where decadence, decay and danger seem to lurk in every ill-lit corner. Just barely hiding from our eyes, but omni-present in the atmosphere.

We see Colin and Mary, a not-so-young and not-so-happy couple that have come back to Venice to decide whether or not to continue their relationship. The only plausible question to that answer seems to be a sound NO, until they meet Robert and Helen, an older couple living in a palazzo at the Grand Canal. Robert and Helen are weird, to say the least. Their marriage being a perverted mixture of violence and lust. Robert (Christopher Walken) could be a character from a James Purdy novel: a closeted mucho macho gay man who can only satisfy his need to be physically close to another man through violence. Masochistic Helen is not at all the victim she seems to be.

But who are the real perverts here? The clearly kinky older couple or their younger 'friends', that can't seem to stop having sex after their unsettling encounters? No need to tell that there can be no happy ending to this tale.

The Comfort of Strangers is a work of art. The chilling atmosphere is tangible, the characters are very convincing, the dialogue by Harold Pinter is multi-layered and the plot is slowly moving to its inevitable conclusion without the interference of a weak-hearted writer.

It makes you think about the million different methods people use to keep their lovelives alive. The movie also is a very brutal way of saying that nothing in life comes for free. By exaggerating the price Colin and Mary have to pay, Shrader seems to make us want to think about the more ordinary prices we pay in matters of fidelity, lust and love.,