That scene from "Unfaithful"
Friday, June 5, 2020 at 10:23PM 
Oscar voters aren't the greatest fans of erotic thrillers. Despite that, there are some times when a cinematic achievement is so undeniable that AMPAS' usual prejudices are thrown out the window. One good example is Adrian Lyne's Fatal Attraction, a cultural phenomenon that, in 1987, managed to nab six Academy Award nominations, including for Best Picture and Best Actress. Years later, another of Lyne's erotic reveries would be honored with an important nod, though this time it was just in the Best Actress category. The picture was 2002's Unfaithful and the actress was Diane Lane delivering one of the most magnificent performances of her career. Her work as Connie Sumner is a masterclass in sexual discovery and abandonment, guilt, and desire.
If for nothing else, Lane earned the nomination for a scene in the middle of the movie, when her adulterous character is returning home by train, after her first tryst with Olivier Martinez's sexy bookdealer…
Unfaithful is a lustful film that's never afraid of gilding the lily, style-wise. From a constant windstorm to a myriad of insert shots of people's hands, touching the cold glass of a snow globe or the hot skin of a lover, it's a formally robust movie. Because of that, it feels a bit disconcerting that, after many scenes building up to a sexual indiscretion, we cut from it before anything too steamy comes to pass. One moment Diane Lane is being taken by hunky Olivier Martinez to his bedroom, and then we're unceremoniously plopped into the sardine can environment of a train.
In this metallic box, we find our heroine contorted into a cramped seat, her naked knee bearing the bloody wounds she got on the day she met her lover. Initially, she's looking out the window, lost in thoughts we are not privy to, but such secrecy is quickly dispelled. In no time, Lane's falling apart in exciting remembrance. Even before we get a flashback to the consummation of the affair, the actress conjures the thrill of sex with her physicality. Notice the way she keeps touching her face, her neck, her chest, perhaps trying to catch the ghost of her lover's presence over her body.
No matter how intimate the moment might be, Connie isn't unaware of her expressivity. Lane plays her like a woman who's too happy to care what other people think but whose body is accustomed to modesty. The way her nervous hand covers a smile speaks of the muscle memory of a suburban housewife whose candid emotions aren't to be openly shared. Even in bedroom flashbacks, the actress plays the reticence of the adulterer, the doubt, and the shame overcome by an explosive desire. As we cut back and forth, between the memory and the now, it feels like the woman in bed is trying to hide how good she feels while the woman in the tram exposes all that pleasure.
In some ways, the remembrance of pleasure can be more exhilarating than the moment of being pleased. Unencumbered by present reality, the sex of the past gains a mythic quality that can be even more wonderful than the real thing. As we watch Connie remember how good it all felt, we watch Diane Lane play someone surrendering themselves to the joy of that memory. On the train seat, Connie is transported and Lane makes sure we, the audience, are similarly impacted. Hints of shame, the guilt of a cheating wife, the insecurity of someone with a younger lover, all those things surface during this recital of non-verbal ecstasy. However, they're always followed by another ebullient smile.
As the scene unravels, we get a sense that Connie wants to giggle like the teenage girl she once was. It's as if the attention of a new lover cracked open the layers of ossified contentment that had built up over years of matrimony. She is exploding and Lane is exploding with her. When the memories start to get racier, when the woman in bed sheds her mask and reveals her want, Lane plays her train scene like an orgasm in slow motion. In its afterglow, she appears surprised at herself, maybe a bit bashful, but happy. That happiness may hide behind indifference and concern as soon as she gets up but we have seen it. Connie is a changed woman.
Throughout its story, Unfaithful sometimes edges a bit too close to utter absurdity. The decisions of the protagonist are hard to swallow as she lets her affair drive her to peaks of recklessness that seem at odds with the behavior she showed at the start of the film. While the script may present an incoherent characterization, the actress never does and a key to her success is the train scene. In it, Lane plays a woman so consumed by her experience that we can believe she'd go to extremes to relive that high. With her silent expressions, Diane Lane makes that reaction shot into Unfaithful's most honest, most memorable moment. It's also its sexiest scene, which is a great feat in a film full of half-naked Olivier Martinez.
Considering all this magnificence, how could AMPAS resist Diane Lane's besotting performance?
Reader Comments (30)
I loved that performance, and I loved the narrative of that Oscar campaign. It felt like the right actress at the right for the right performance. I sometimes fear that watching the movie again will pull the memory of that scene down to reality where it shouldn't exist.
Dare I say it?, but this scene alone is Meryl Streep caliber acting... I remember being floored at the emotion she conveys here... it’s damn near perfect
Lane is very good in a so-so movie (the original French version is very superior), but if we talk about sex scenes in 2002, I prefer Maggie Gylenhaal in Secretary.
That was a great performance and certainly is a career watershed moment for Diane Lane. 2002 was a great year for actresses. Maggie Gyllenhaal of course for Secretary as well as Samantha Morton for Morvern Callar.
During her award campaign for Hustlers, Jennifer Lopez was vocal that the one role she regretted declining in her career was Connie Sumner. Instead, she starred in two popcorn flicks that year, Enough and Maid in Manhattan.
I think Lane is perfection in Unfaithful. And yet, I wouldn't mind seeing what Lopez would have done in the role.
I remember an IMDB message board post saying that he/she became so horny while watching Unfaithful, he/she stopped watching and went to have a threesome.
I understand him/her.
James: Oh my gosh, I would've loved to see JLo take a stab on this role.
Diane Lane works better than Jennifer Lopez would have because at the time Lopez was at her peak, she was one of the biggest stars and - whether she liked it or not - first celebrities constantly on the cover of the magazines and in gossip columns. Lane is older as her and she was very believable to see her as a bored housewife, married for years to Richard Gere's character and rediscovering her sexuality with an artist who represents everything that is not in her life anymore. Lopez would have problem selling that at the time but she would be perfect for such a role nowadays.
I wonder why Adrian Lyne left filmmaking after that. His films were unique - trashy and acclaim-worthy at the same time.
Diane Lane has the most amazing hair. I love it here and shorter in Rodanthe
The shade...
This remains one of my favourite standalone moments of actressing, right up there with Nicole Kidman's theatre scene in Birth. However, what I can't get over is just how superbly written this piece is.
In some ways, the remembrance of pleasure can be more exhilarating than the moment of being pleased. Unencumbered by present reality, the sex of the past gains a mythic quality that can be even more wonderful than the real thing.
It's as if the attention of a new lover cracked open the layers of ossified contentment that had built up over years of matrimony.
This is literature... of the exquisite kind. Thank you Claudio.
I think she's excellent too. A well-deserved nomination for an outstanding performance.
TheDrMistery: I wonder about Adrian Lyne too. An underrated director. I think he might be working on a new film. If so, I look forward to it.
An usual nomination,they usually stay clear of too sexy,my fave scene besides this one is where she hears of her lovers death and turns her back to Gere and the camera stays on her trying to hold her sobs in,my no 2 in that year.
This moment is truly iconic and I especially enjoyed reding this piece because it brought me to when I watched this film and all the levels you discussed really are truely there.
While I personally wouldn't have nominated Lane as that year there were other ways I'd go I cannot deny the greatness of Lane and the uniqueness of this role getting an academy award nomination.
I too miss Lyne even if his films are hit and miss for me at least the misses were taking major risks and not just cookie cutter sh*t
Adrian Lyne's new erotic thriller Deep Water wrong Ben Affleck and Ana de Armas is schedule to open in November.
Nicely stated perceptions of a fantastically performed scene.
I don't love the overall film of Unfaithful that much but Diane Lane is simply astonishing in it. Much as I loved Julianne Moore in Far From Heaven my choice for best actress of the year was then and remains Diane.
Even if I was really happy for Kidman's win, Lane and Moore will Always be my favs among Best Actress nominees that year. A very good piece about an awesome film moment
This scene ranks with Glenn Close taking off her makeup in "Dangerous Liasons" and Kathleen Turner's opening scene in "Body Heat" (chronicled beautifully here recently) as the perfect combo of star power and raw acting. Perfect scene.
Great scene, great article.
She was wonderful in the film. I wish she had gotten better roles after this.
Nicole Kidman is excellent in THE HOURS, but Diane Lane is extraordinary in UNFAITHFUL. I would given the Oscar to her that year!
I love Diane, Salma! Sorry, but you were the weak link.
I did like the movie, but the only part I remember is this one. She goes through EVERYTHING in this scene, and it's electric. Well deserved nomination. She's my No. 2, before Moore, only because Moore had already been robbed for "Boogie Nights' and now here too.
Claudio, this was a beautifully written piece. Thank you.
I heard Lyne filmed the sex scene first and the subway scene filmed after. Lyne said that they didn't even need to shoot the sex scene since Diane Lane's face told us what happened.
Going off on a tangent but remember how they didn't show acting clips at the 2002 Oscars? God I hated that decision. Especially since the Actress and Supporting Actress line ups were all-timers that year. This scene would have been a great clip for Lane.
Michelle Pfeiffer would've nailed this role. She shares Lane's gift for downplaying her (even more considerable) beauty.
You have to believe the affair awakens something in Connie and that it's out of character. I don't see that in Lopez, Sharon Stone or other sex symbols.
Imagine Oleander/Unfaithful in the same year—could've been double nominations and even a win.
Diane Lane deserves a better career. This is such a mom movie and I love it.
This is a good movie and Diane Lane is fantastic in it
Loved this movie
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