THE LEADING MAN

John Duigan directs this interesting look at the price we pay for what we think we want in THE LEADING MAN. Pop singer Jon Bon Jovi plays Robin Grange, a devilishly handsome American star who plays the lead in “The Hitman,” playwright Felix Webb’s latest work. The playwright is in the middle of a crisis because his adulterous affair with the play’s leading lady, Hilary Rule (Thandie Newton), is driving his wife, Elena (Anna Galiena), to the depths of suicidal despair. Robin offers to relieve Elena’s suffering by having an affair with her. At first, he seems the answer to Felix’s dilemma: how to pursue his relationship with Hilary without hurting his innocent wife. No mention is made, however, that Felix and Elena have three children who will also undoubtedly be hurt.

Elena is no dummy. She knows about the affair and her despair is shown when she cuts up her husband’s ties and clothes after confronting him one day and getting no answer about the reason Felix has chosen another woman over her. Ironically, Felix wrote “The Hitman” as an analysis of morality in this “morally ambiguous time,” and Robin appropriately is playing the title character in Felix’s play, a true mercenary without a conscience. Robin believes that human thinking alone distinguishes right from wrong. Robin shares The Hitman’s philosophy, and so he plays the devil in the Faustian bargain which Felix consummates in THE LEADING MAN.

Even though he is cheating on his wife, Felix still believes himself to be a moral person. Thus, when Robin first suggests that, if Elena had an affair, she would gladly divorce Felix and all would be well, Felix rejects Robin’s idea outright for two reasons. First, Felix believes his wife would never do such a thing. Secondly, Felix tells Robin that he doesn’t want his wife to be hurt. Robin argues, however, that Elena would become bored with Robin and get over her suicidal thoughts if she realized that life could go on without Felix. Despite Robin’s argument, Felix turns down Robin’s offer until Hilary refuses to see him again unless he leaves Elena. Then, Felix even agrees to pay Robin the expenses he incurs in his affair with Elena.

Screenwriter Virginia Duigan has fashioned a superb script that details the underhanded and completely cold manner in which Robin goes about his evil task. Robin finds out everything he can about Elena — pets, music, books, past times, favorite haunts – and even thumbs through her underwear drawer. He studies Elena as if studying for a part, and, when they meet, they do seem like “two lost souls” who have found each other.

Felix finds all this distasteful but goes along with Robin’s scheme, because he thinks that the end justifies the means. However, he watches in horror as Elena responds to Robin’s perfectly plotted seduction, and, since he is estranged from Hilary as well, he rightly suspects that Robin might be cheating him out of his wife. Felix spirals into a sort of madness and rage as he watches Elena blossom.

The best part of the film is how this story evolves. At the end, Felix tries to regain the upper hand and, in a grand theatrical gesture, seals his fate.

In conclusion, THE LEADING MAN is an intriguing morality play which reveals the price people pay for sin. Jon Bon Jovi plays Robin with all the smarminess he can muster. Alex Webb plays Felix delightfully as the suffering artiste who has it all, yet still wants more.