UnowPriceless hyped garbage

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

reader4 When I saw that this movie was by Graham Greene, I expected a suspense story, maybe a spy story. So I wanted to warn people that this movie is nothing like that. It is about faith and God.It is couched as a love triangle melodrama. This disguise is so well-wrought that it seems to have fooled a lot of people into thinking the movie is a love story. But all that is merely an excuse for the rather deep philosophical issues that the movie tackles.In typical Greene manner, though, it is rife with unexpected plot twists. For example, just when I thought the movie was about to wrap itself up, it launched into the real reason for its existence, via a flashback into "what really happened" in Sarah's life. This is an unusual place in a movie to have a long flashback, it seems to me.After this point, there is one change of direction after another. Up until the very last scene, the movie is quite ambiguous, and it is not at all clear whether Greene views belief in God as a bad, destructive thing or not. Even the last scene does not completely resolve this question.Johnson has a particularly unusual part, his all-consuming passion for Sarah inadvertently causing her misfortune after misfortune. His understated guilt and horror each time he discovers the effects of his actions is an interesting part of the story.The acting by the three mains, Kerr, Johnson and, surprisingly, Peter Cushing, is top notch. This movie is not "entertainment," however. It is an intellectual challenge, engaging the viewer to wrestle with issues most thinking humans must come to terms with at one time or another in their lives. The dialogues between Johnson and Kerr remind me very much of a non-humorous presentation of the themes dealt with in "The Screwtape Letters," with Johnson (and Goodliffe) presenting all the rational, reasonable conclusions favoring atheism, but Kerr inevitably being drawn deeper and deeper into faith in God, more because of their efforts than in spite of them.As has been demonstrated in other comments, this movie will not be enjoyed by those unwilling to examine their stances towards these fundamental issues of human existence.

edwagreen Imagine me saying that a Van Johnson, Deborah Kerr film was awful. It's true folks. This was one miserable film.In war ravaged England the two of them begin an affair only for Ms. Kerr to end it in thanks to the Lord when Maurice (Johnson) survives a bombing.The two of them engage in absolute endless talk. The film falls into a discussion regarding the lord and all other kinds of philosophy. Kerr gives an emotionally restrained performance in her usual sing-song diction.As Sarah in this film, there is no great chemical reaction between her and Maurice.As her suffering husband, an English civil servant, Peter Cushing is adequate but the dialogue is ridiculous.John Mills is real dead pan as an investigator.When a husband hires a detective to investigate a cheating wife, that can be believed. When a former lover does this, you have to wonder.Am wondering if Van Johnson was using this film as a pre-test to the much better "Miracle in the Rain" which occurred the following year. Two deaths coming during rainstorms is more than quite incidental.

whpratt1 The two lovers in this picture who were having an affair, namely: Deborah Kerr, (Sarah Miles) and Van Johnson, (Maurice Bendrix) both bored me to death with their flashbacks about their so called love affair. The entire picture went around in complete circles along with bombs exploding in London during World War 11. The End of the Affair should have been over before it started, I doubt very much if this couple even enjoyed their so called sexual affair, the both acted way out of character and Van Johnson and Deborah Kerr were not suited for each other as actors in this film. It is a depressing horrible film and it really gave me a Headache to watch.

tjonasgreen This is an astonishing artifact from 1955 -- astonishing because it is so grownup and sophisticated in its outlook, and because it grapples with moral complexities and ambiguities that English language films of this period never went near. An adulterous affair begun with a certain amount of cynicism on both sides grows into a true and passionate love affair, which in turn raises issues of guilt, trust, duty, self-denial and religious belief. As a story, it holds our interest and causes us to wonder where it will end. As a parable and philosophical meditation on belief and its role in love and contemporary life, it is both stimulating and unexpectedly moving.That a novel as layered and difficult was attempted with major stars at this time is surprising enough. That THE END OF THE AFFAIR succeeds on so many levels seems miraculous, especially in the context of most mainstream film product of the mid-'50s.Van Johnson is not as expressive or deep an actor as the excellent Deborah Kerr and Peter Cushing (and John Mills, Michael Goodliffe and Nora Swinburne) yet his character's relaxed masculinity, reluctant anguish and saturnine, rather malicious jealousy are well-conveyed, and he manages to be a presence you remain interested in. As Greene's Mary Magdalene character, the woman in whom the sacred and profane are mingled, Kerr is terrific in a complex role that is an interesting inversion of her promiscuous, childless woman in the far more famous and popular FROM HERE TO ETERNITY of just two years before. ETERNITY, done for Columbia, the same studio that released this, was far more shallow and conventional in the way it dealt with Kerr's Karen Holmes and her redemption. Just as shallow (and evasive) was TEA AND SYMPATHY, which Kerr did after this, and which received far more fame and attention than was merited. This 1955 version of THE END OF THE AFFAIR deserves to be much better known and remembered, and all concerned deserve belated kudos for attempting such a provocative film in the midst of Hollywood's synthetic movies of the period. I saw this after recording it on TCM, and would like to see it scheduled in prime time, to perhaps begin to get the wider audience it deserves and to hear commentary from moderator Robert Osborn (for that matter, he ought to do one hour interviews with both Kerr and Johnson while they are still around).Let the rediscovery and rehabilitation of this good film begin . . .