Film Review: A Different Loyalty (2004)

British director Marek Kanievska has long occupied an intriguing position within the film industry. Primarily known for his work in television and commercials, Kanievska’s cinematic output remains frustratingly sparse. Yet, his 1984 debut feature, Another Country, instantly established him as a filmmaker of considerable promise. That elegant period drama, exploring the privileged Cambridge upbringing of two young men who would become notorious Soviet moles—Guy Burgess and Donald Maclean—was not merely a compelling character study but a sophisticated interrogation of betrayal within Britain’s establishment during the Cold War’s icy grip. Crucially, it introduced a young Rupert Everett in a star-making performance as Bennett—a character modelled on Burgess. Twenty years later, Kanievska and Everett reunited for what would prove to be the director’s final film: A Different Loyalty (2004). Superficially, it appears a thematic sequel to Another Country, revisiting the shadowy world of the Cambridge Five spy ring, but this reunion squanders its potent historical material through a series of baffling creative missteps.

The film draws upon a rich source: Kim Philby: The Spy I Loved, the 1968 memoir by Eleanor Brewer Philby, American wife of the highest-ranking MI6 traitor, Harold ‘Kim’ Philby. Philby, the ‘Third Man’ of the Burgess-Maclean defection in 1951, managed to evade suspicion for over a decade before his own dramatic escape to Moscow in 1963. His story is inherently cinematic—a tale of ideological conviction clashing with personal devotion. Yet, A Different Loyalty immediately undermines its authenticity by altering the names: Eleanor becomes Sally Taylor Caulfield (Sharon Stone), Kim transforms into Leo Caulfield (Everett), and Philby’s MI6 colleague Nicholas Elliott is reimagined as Andrew Darcy (Julian Wadham). The narrative follows Sally, a married American mother in 1950s Beirut, who embarks on a passionate affair with the enigmatic British journalist Leo. After divorces, they marry, only for their idyll to shatter when Darcy arrives, warning Leo he is under suspicion. Leo vanishes, reappearing in Moscow. Sally’s desperate journey to the Soviet capital, her subsequent persecution by a vindictive FBI and CIA convinced she’s a communist agent, and her final, heartbreaking realisation in Moscow—that Leo’s communist ideals will always trump his love for her—form a genuinely tragic arc.

Despite tackling such fascinating real-world history and reportedly possessing a respectable budget permitting filming in Moscow, Montreal, and Malta, A Different Loyalty is visually and atmospherically inert. Kanievska, who brought such textured elegance to the 1930s setting of Another Country, fails utterly to evoke the distinctive mood of the 1950s and early 1960s. Beirut’s cosmopolitan vibrancy, the tense paranoia of Cold War capitals, and the oppressive grimness of Khrushchev-era Moscow are rendered with the flat, uninspired aesthetic of a middling television docudrama. The period detail feels perfunctory, the locations lack visceral impact, and the overall mise-en-scène possesses none of the thematic weight or visual poetry that marked Kanievska’s earlier work. It squanders the inherent drama of its settings.

The most perplexing decision, however, was the insistence on fictionalising the names—a choice reportedly driven by Sharon Stone. While Stone sheds her usual blonde persona for a rare brunette role, attempting to inject her trademark erotic intensity into Sally, the strategy backfires catastrophically. The name changes serve no artistic purpose; instead, they alienate viewers familiar with this pivotal Cold War saga, making the film feel coy and evasive where it should be boldly confrontational. Stone’s performance is further hampered by a complete lack of palpable chemistry with Everett. The magnetic, dangerous charisma Everett exuded as the young Bennett in Another Country has faded; here, he appears weary, emotionally remote, and oddly disinterested in the very narrative he helped initiate. Their central love story, the emotional core upon which the entire film hinges, rings utterly false. Stone’s attempts at vulnerability and obsession feel mannered, while Everett’s Leo remains an opaque, frustrating enigma.

Consequently, A Different Loyalty has languished as one of the most obscure entries in Sharon Stone’s filmography. Its near-invisibility in the United States is telling. A combination of factors sealed its fate: a mid-2000s American cultural landscape largely preoccupied with the ‘War on Terror’ and contemporary conflicts, showing little appetite for revisiting Cold War complexities. Furthermore, the film’s unflattering portrayal of FBI and CIA agents—depicted as bullying, paranoid bureaucrats hounding a desperate woman—sat uneasily with patriotic sensibilities during a period of heightened nationalism. Russian critics, meanwhile, bristled at its reliance on tired Cold War tropes: Moscow is presented as an unremittingly bleak, grey landscape of breadlines, perpetual snow, and menacing surveillance—a simplistic caricature that ignored the city’s more nuanced reality even under Soviet rule.

Ultimately, A Different Loyalty stands as a profound disappointment. It reunites a director and actor whose first collaboration was a landmark British film, tackles one of the 20th century’s most compelling espionage sagas, and possesses the resources for visual grandeur. Yet, it succumbs to creative timidity—through its pointless fictionalisation, its failure to authentically recreate its period, and its miscast, unconvincing central relationship. Kanievska’s vision feels diminished, Everett appears disengaged, and Stone’s efforts are undermined by the film’s fundamental lack of conviction. What should have been a powerful meditation on love, betrayal, and ideological fanaticism in the shadow of the Iron Curtain instead becomes a flat, forgettable footnote—a squandered opportunity that fails both its fascinating source material and the legacy of the director’s promising debut. The Cold War’s human tragedies demand more than this tepid, televisual retelling.

RATING: 4/10 (+)

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