|
gptkbp:instance_of
|
gptkb:stage_adaptation
gptkb:novel
gptkb:film
|
|
gptkbp:adaptation
|
gptkb:film_adaptation
gptkb:film_adaptations
gptkb:Venice
gptkb:theater
gptkb:identity
gptkb:trust
gptkb:film
minimalist
positive
power dynamics
|
|
gptkbp:adaptation_notable_performance
|
gptkb:David_Tennant
gptkb:Emma_Thompson
gptkb:Dame_Judi_Dench
gptkb:Ian_Mc_Kellen
|
|
gptkbp:adaptation_year
|
gptkb:2000
|
|
gptkbp:adaptations
|
gptkb:Harold_Pinter
|
|
gptkbp:aspect_ratio
|
1.85:1
|
|
gptkbp:author
|
gptkb:Ian_Mc_Ewan
|
|
gptkbp:awards
|
gptkb:none
nominated for Best Director
nominated for Best Actress
|
|
gptkbp:based_on
|
gptkb:novel
novel by Ian Mc Ewan
|
|
gptkbp:based_on_work
|
The Comfort of Strangers (novel)
|
|
gptkbp:box_office
|
$1.5 million
|
|
gptkbp:cast
|
gptkb:Harold_Pinter
gptkb:Helen_Bonham_Carter
gptkb:Christopher_Walken
gptkb:Natasha_Richardson
gptkb:Rupert_Everett
|
|
gptkbp:character
|
gptkb:Mary
gptkb:Robert
Carla
Colin
|
|
gptkbp:character_development
|
psychological depth.
Colin and Mary
Robert and Carla
|
|
gptkbp:cinematography_by
|
gptkb:Robby_Müller
|
|
gptkbp:climax
|
confrontation scene
|
|
gptkbp:color
|
gptkb:Color
|
|
gptkbp:conflict
|
psychological conflict
interpersonal conflict
internal conflict.
external conflict.
|
|
gptkbp:country
|
gptkb:Italy
gptkb:United_Kingdom
|
|
gptkbp:critical_reception
|
mixed
mixed reviews
|
|
gptkbp:cultural_impact
|
cult following
|
|
gptkbp:directed_by
|
gptkb:Paul_Schrader
|
|
gptkbp:director
|
gptkb:Paul_Schrader
|
|
gptkbp:distributor
|
gptkb:Cannon_Group
gptkb:Cineplex_Odeon
|
|
gptkbp:edited_by
|
gptkb:Gerry_Hambling
gptkb:Mick_Audsley
|
|
gptkbp:film
|
gptkb:Helen_Bonham_Carter
gptkb:Christopher_Walken
gptkb:Natasha_Richardson
gptkb:Rupert_Everett
|
|
gptkbp:film_awards
|
gptkb:Best_Actor
gptkb:Best_Actress
gptkb:Best_Director
|
|
gptkbp:film_editing
|
gptkb:1990
|
|
gptkbp:film_festival
|
gptkb:Venice_Film_Festival_1981
|
|
gptkbp:film_score
|
gptkb:Philip_Glass
|
|
gptkbp:film_technique
|
gptkb:film
|
|
gptkbp:filming_location
|
gptkb:Venice
gptkb:Venice,_Italy
|
|
gptkbp:first_published
|
gptkb:1981
|
|
gptkbp:followed_by
|
gptkb:The_Child_in_Time
|
|
gptkbp:genre
|
gptkb:drama
gptkb:thriller
psychological thriller
|
|
gptkbp:home_media_release
|
gptkb:DVD
gptkb:Blu-ray
Digital
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The Comfort of Strangers
|
|
gptkbp:influenced_by
|
gptkb:European_art_cinema
film noir
|
|
gptkbp:influences
|
gptkb:Henry_James
gptkb:Graham_Greene
gptkb:Gothic_literature
European literature
psychological thriller
European cinema
film noir
Hitchcockian suspense
|
|
gptkbp:inspiration
|
real-life events.
|
|
gptkbp:isbn
|
978-0-09-974091-0
978-0-224-01780-0
|
|
gptkbp:language
|
English
|
|
gptkbp:literary_significance
|
examines moral ambiguity
explores human relationships
reflects societal fears.
examines moral ambiguity.
explores human relationships.
reflects on fear and desire
|
|
gptkbp:main_character
|
gptkb:Mary
gptkb:Robert
Carla
Colin
|
|
gptkbp:motif
|
cultural dislocation
urban alienation
sexual tension
power dynamics.
sexual tension.
urban alienation.
|
|
gptkbp:music_by
|
gptkb:Philip_Glass
|
|
gptkbp:narrative_style
|
third-person
psychological thriller
|
|
gptkbp:notable_aspect
|
gptkb:art
gptkb:soundtrack
cinematography
performances
|
|
gptkbp:notable_quote
|
" We are all strangers here."
" What is it that you want?"
|
|
gptkbp:page_count
|
192
|
|
gptkbp:plot
|
couple's vacation leads to unsettling encounters.
A couple's vacation in Venice takes a dark turn.
|
|
gptkbp:plot_summary
|
A couple's vacation in Venice takes a dark turn.
|
|
gptkbp:premiere
|
gptkb:Venice_Film_Festival
|
|
gptkbp:premiere_date
|
gptkb:1981
|
|
gptkbp:premiered_on
|
gptkb:Venice_Film_Festival
|
|
gptkbp:production_company
|
gptkb:Royal_Court_Theatre
gptkb:Palace_Pictures
gptkb:theater
gptkb:Cineplex_Odeon
|
|
gptkbp:protagonist
|
gptkb:Mary
Colin
|
|
gptkbp:published
|
gptkb:1981
|
|
gptkbp:published_year
|
gptkb:1981
|
|
gptkbp:publisher
|
gptkb:Jonathan_Cape
|
|
gptkbp:reader_demographic
|
challenges perceptions.
provokes thought.
elicits discomfort.
|
|
gptkbp:release_date
|
September 1990
September 1981
|
|
gptkbp:release_format
|
theatrical
|
|
gptkbp:release_year
|
gptkb:1990
|
|
gptkbp:released
|
gptkb:1981
|
|
gptkbp:released_in
|
gptkb:1990
|
|
gptkbp:resolution
|
ambiguous ending
|
|
gptkbp:runtime
|
101 minutes
|
|
gptkbp:screenplay_by
|
gptkb:Paul_Schrader
|
|
gptkbp:setting
|
gptkb:Venice
urban environment.
|
|
gptkbp:setting_time
|
gptkb:1980s
|
|
gptkbp:starring
|
gptkb:Helen_Bonham_Carter
gptkb:Christopher_Walken
gptkb:Natasha_Richardson
gptkb:Helen_Baxendale
gptkb:Rupert_Everett
|
|
gptkbp:style
|
minimalist
introspective
suspenseful
minimalist prose.
|
|
gptkbp:symbolism
|
Venice as a labyrinth
water as a motif
comfort.
danger.
strangers.
strangers as a theme
|
|
gptkbp:theme
|
gptkb:betrayal
gptkb:deception
gptkb:trust
isolation
violence
|
|
gptkbp:themes
|
gptkb:deception
gptkb:trust
isolation
obsession
violence
sexuality
|
|
gptkbp:won_award
|
gptkb:Best_Actor
gptkb:Best_Actress
gptkb:Best_Director
Best New Play
|
|
gptkbp:bfsParent
|
gptkb:Ian_Mc_Ewan
gptkb:The_Last_Supper
gptkb:James_Ivory
gptkb:Chatto_&_Windus
gptkb:Paul_Schrader
|
|
gptkbp:bfsLayer
|
4
|