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An Ideal Husband

An Ideal Husband

Drama · Comedy · Romance · 1999

Sir Robert Chiltern is a successful government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears in London with damning evidence of a past misdeed. Sir Robert turns for help to his friend Lord Goring, an apparently idle philanderer and the despair of his father. Goring knows the lady of old, and, for him, takes the whole thing pretty seriously.

Movie details

An Ideal Husband

“He just doesn't know it yet.”

1999 Drama · Comedy · Romance 1h 37m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Sir Robert Chiltern is a successful government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears in London with damning evidence of a past misdeed. Sir Robert turns for help to his friend Lord Goring, an apparently idle philanderer and the despair of his father. Goring knows the lady of old, and, for him, takes the whole thing pretty seriously.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over An Ideal Husband?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Oliver Parker

Written by

Oliver Parker

Cate Blanchett

Cate Blanchett

Lady Gertrude Chiltern

Minnie Driver

Minnie Driver

Miss Mabel Chiltern

Rupert Everett

Rupert Everett

Lord Arthur Goring

Julianne Moore

Julianne Moore

Mrs. Laura Cheveley

Jeremy Northam

Jeremy Northam

Sir Robert Chiltern

Peter Vaughan

Peter Vaughan

Phipps

B

Ben Pullen

Tommy Trafford

Court is in session

Put An Ideal Husband on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.