He came close to his fantasy, a renewal. But shortly let his mind take him down a trail of various sorts of negativity. He was on that line a bit, a line where he could have been witty and upbeat and challenging, a line he crossed into torpor and, well, annoyance, and more.
Or perhaps He knew something the other reviewers here (and they are a very solid group of reviewers) did not know: That She too wanted a renewal. Though her words bely that possibility, well into the film, she touches his hand in a way that is personal and perhaps a bit erotic. Perhaps in her wonderful life with a successful author and two nondescript kids, she would like to recoup her past with He.
Perhaps He knew this, and sabotaged it. If so, Why?
The subject that screenwriters love to chat about, subtext, comes up. I thought the Mamet fiasco, PHIL SPECTOR, had the characters all delivering subtext as dialogue. Thus there was no mystery. Here, however, the subtext was given us in his unspoken words, his thoughts, as voice-over dialogue in his own head. Perambulating in his skull. It worked.
For Rickman, I find this his second most compelling work, the first being CLOSET LAND (which I saw on a Saturday night in a popular movie theater, but only me in the room for that film). Both works exploit his rich voice.
