Notes on a Scandal is perverted, deranged and filled to the brim with some of the most unbelievably grotesque characters in the history of cinema – and it also happens to be one of the most deliciously off-the-wall dramas of the past two decades. Richard Eyre’s adaptation of the novel by Zoë Heller is an experience like no other, the kind of bizarre attempt at adding a level of sophistication to a pulpy novel, but where the process of adapting it only highlights how truly trashy the source material actually was in the first place, but not in the way that suggests it is anything close to bad literature, but rather a kind of layered text that is as enthralling as it is bewildering, which is likely what made it so compelling. This is not meant to be a derision of either the people involved in the creation of the film, or the author who conceived of this story, but rather a way to start discussing a film that has been appropriated as much more than the tense psychological thriller that it was intended to be. Eyre, who is a reliable but unremarkable director, seemed to have a very precise way of handling this source material, which emphasizes some of the more questionable aspects of the text, both in the story it tells and the kinds of characters being represented. This, when taken alongside the very strange tone and some distinctly over-the-top filmmaking decisions, create a situation where the viewer is either going to be repulsed by some of these decisions, or sold on them from the outset, proving that Notes on a Scandal is an acquired taste, a film that feels drawn from the deepest and most provocative recesses of the human condition, a series of our most hideous traits strewn across a canvas of perversion and insidiousness – and every moment is an absolute delight.

There is very little way to deny that Notes on a Scandal has become a wildly popular film amongst certain circles, especially those with a penchant for the more accidentally absurd. It is a cult classic in every sense of the term, which is almost entirely against its will, which is only part of what makes it such an endearing work. One of the great joys of artistic interpretation is that each of us brings a different perspective to a work like this, and if a few of us find our opinions overlapping, the general interpretation of a work can shift over time. As a result, Notes on a Scandal has been reappropriated, not as a complex psychological thriller, but as an offbeat dark comedy that plumbs the emotional depths of a very dark story, and somehow finds humour in some of the most inappropriate places. To be clear, this was entirely unintentional – both Heller’s novel and the film adaptation of it were constructed to be very serious, direct narratives that look at certain issues through investigating them across numerous different layers. However, the process entails gradually heightening the tone to the point of it becoming beyond hysterical, which can either incite frustration in those expecting a more straightforward and measured approach to the material, or absolute delight in viewers who appreciate a film with camp value. Considering how inconsequential the story at the heart of it actually is, we can argue there is undeniably a lot of merit in viewing Notes on a Scandal as a film that works better as a perverse dark comedy than it does a sobering melodrama or scathing psychological thriller – these latter two are not rendered invalid by the film, but rather are eclipsed by the more excessive flights of fancy taken to bring it to the screen, which is why it is such a cherished work, even if it is for the wrong reasons entirely.

The excessive nature of Notes on a Scandal is not made any less notable by the two performances that reside at the heart of the film. Judi Dench and Cate Blanchett play the leads, and while both were already incredibly well-known and revered icons of stage and screen prior to this film (which included an enormous amount of acclaim for exceptional film work), there was something about this film that stood out more than a lot of their work. This is particularly true of Dench, who somehow found this role becoming her most famous, or rather the one that most people cite as her best. Without any doubt, she is excellent – but considering how she has become synonymous with playing matriarchs and regal women that may be prickly on the outside but have a very tender soul. the role of Barbara Covett is a jarring change of pace. One of the few instances where she is playing an outright villain (and not one that is justified in her actions at all), this role affords Dench the opportunity to venture out of her comfort zone and go in search of something much deeper, and in the process, she unearths a truly sinister and despicable character that remains one of her most challenging roles. Blanchett is not far behind – while she is playing the victim of Dench’s perverted game of gate-and-mouse, she is just as manipulative, taking the seemingly innocent Sheba Hart and turning her into a pathetic, withering fool that cannot take accountability, and resorts to histrionics just as fast as Dench’s character succumbs to apoplectic rage. The two have exceptional chemistry, and while it isn’t necessarily a challenging film, they both rise to the occasion and create characters that feel more authentic than the thin archetypes we may have seen in the hands of less talented performers.

However, as much as we are tempted to heap nothing but praise on Notes on a Scandal based on its endearing excess, we can’t be restricted to discussing the aspects of a film that came about unintentionally, especially since it does carry a deeper meaning that may not be as entertaining as the elements that have allowed it to linger as long as it has, but are nonetheless quite important. The point the film is trying to emphasize in between hysterical moments is the structural corruption that has become consolidated into our institutions – there’s a culture of concealing information, not for the greater good, but rather as a means to gain an advantage over another person. This film is as much about conflict as any war epic, since at their core, they’re all focused on showing two sides that stand in fierce opposition, battling against one another for dominance, and where neither party will cease until they get what they desire, even if it is just a feeling of superiority. This is primarily what Notes on a Scandal is trying to investigate, and it’s the issue that underpins so much of the film, giving it a lot of nuance in the places that matter. If we peer behind the layers of over-the-top storytelling, we find the film is quite profound when it needs to be, which is very important, since it is aiming to highlight important ideas that may not be known to several viewers. Over time, the themes at the heart of this film have become sadly quite relevant – the rapid rise in victims of sexual assault coming forward has shown how rotted nearly every facet of our culture is, and while this particular narrative doesn’t aim to represent all victims and their perpetrators, it has a resonance that is sadly far too striking to ignore, which is one of the primary reasons it has remained such a notable film, even if those who pay attention to those details are outnumbered by those who watch it for the sake of the excess.

Notes on a Scandal has taken on a life of its own, exceeding the limits of the garden-variety psychological thriller that it was designed to be, and instead becoming a lavish, extravagant production that incorporates elements of dark comedy and heavy-handed melodrama, albeit seemingly unintentionally. It’s a strange film, but one that is profoundly entertaining – whether we look at it as a hilariously off-the-wall camp classic, or just as a simple story about the perverse limits of obsession, the film is a fascinating piece, and something that warrants our time, even if it is just to marvel at the bizarre story that Eyre put together, with the help of a novel that may be well-written, but still lent itself to this kind of bizarre artifice that has kept the film in the public consciousness for nearly two decades. The film is predictable, and it can sometimes be insufferable, especially in those moments where it seems to be avoiding all restraint, and instead spirally out of control, which can be unbearable or genuinely wonderful depending on how one feels about this kind of eccentricity. As a whole, Notes on a Scandal is not a revolutionary film, and it is certainly not going to be seen as some tragically underrated masterpiece – so if anything, the movement towards this as a camp cult classic is doing the film favours, since it keeps it alive, and while the audience for it may be slightly niche, it will at least allow it to remain part of the cultural consciousness, a cherished work amongst those who appreciate its ludicrous but compelling qualities, which have remained part of the film’s seemingly indelible legacy.