The End of the Affair

1955
PG
1h 45m

IMDb RATING

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Deborah Kerr and Van Johnson in The End of the Affair (1955)

In WW2 London, a writer falls in love with the wife of a British civil servant but both men suspect her of infidelity with yet another man.In WW2 London, a writer falls in love with the wife of a British civil servant but both men suspect her of infidelity with yet another man.In WW2 London, a writer falls in love with the wife of a British civil servant but both men suspect her of infidelity with yet another man.

Director
- Edward Dmytryk
Writers
- Graham Greene
- Lenore J. Coffee
Stars

See production info at IMDbPro

IMDb RATING

6.5/10

1.5K

YOUR RATING

Director
- Edward Dmytryk
Writers
- Graham Greene
- Lenore J. Coffee
Stars

See production info at IMDbPro

Nominated for 1 BAFTA Award
- 1 win & 2 nominations total

Photos67

+ 63

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Storyline

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Trivia
Producer David Lewis first acquired the film rights to Graham Greene's novel in January 1952 with Gregory Peck and Jean Simmons as possible leads. Then in March 1952 MGM bought the rights from Lewis. Finally in February 1952, producer David E. Rose acquired the rights with a deal in place for Columbia to distribute the picture.

Goofs
After the bomb explosion, when Sarah leaves, she stops in doorway and grabs the door side with the right hand. Between cuts, she appears without hand on the door at all.

Quotes
Sarah Miles: What do you believe in, Henry? All these years I've been married to you I've never really known; I've never even asked. Do you believe that there's a hell and a heaven, and an immortal soul, and a god who rewards and punishes and answers prayers?
Henry Miles: It's not exactly the sort of thing to go into over a cup of tea.

Connections
Featured in Peter Cushing: A One-Way Ticket to Hollywood (1989)

User reviews38

Review

Featured review

7/10

Worthy version of the novel

Van Johnson is miscast but still surprisingly good as the loving/bitter writer who tells this story; Kerr is very good and Cushing is even better. In fact, Cushing is distinctly superior to Stephen Rea, who played the role of the husband in the 1999 version. Rea was mopey and morose, but Cushing is a mild man doing the best he can, a picture of unexpected courage -- and frailty. It's one of the best performances he ever gave; it's a shame it didn't lead to bigger roles.

The movie does not, cannot, express the passion so much a part of Neil Jordan's version; furthermore, it's talkier, and the talk isn't as good. It doesn't capture the period (World War II and just after) in the slightest, despite some newsreel footage, but otherwise London is presented very well in handsome black and white photography. It's an honest and respectable version of Greene's novel, but Jordan's is the classic.