Match Point - Plot

Plot

Chris Wilton, a recently retired tennis professional, is taken on as an instructor at an upmarket club in London. He strikes up a friendship with a wealthy pupil, Tom Hewett, after discovering their common affinity for opera. Tom's older sister, Chloe, is smitten with Chris and the two begin dating. During a family gathering, Chris meets Tom's fiancée, Nola Rice, and they are instantly attracted to each other. Tom's mother, Eleanor, does not approve of her son's relationship with the struggling American actress, a source of tension in the family. Chloe encourages her father, Alec, to give Chris a job as an executive in one of his companies; he begins to be accepted into the family and marriage is discussed.

During a storm, after having her choice of profession attacked by Eleanor (in her usual passive-aggressive way), Nola leaves the house to be alone. Chris follows Nola outside and confesses his feelings for her, and they passionately kiss in a wheat-field. Feeling guilty, Nola treats this as an accident; Chris, however, wants an ongoing clandestine relationship. Chris and Chloe marry, but Tom ends his relationship with Nola.

Chloe, to her distress, does not become pregnant immediately. Chris vainly tries to track down Nola, but meets her by chance some time later at Tate Modern. He discreetly asks for her number and they begin an affair. Whilst Chris is spending time with his wife's family, Nola calls to inform him that she is pregnant. Panicked, Chris asks her to get an abortion, but she refuses, saying that she wants to raise the child with him. Chris's strange behaviour makes Chloe suspect he is having an affair, which he denies. Nola urges Chris to divorce his wife, and he feels trapped and finds himself lying to Chloe as well as Nola. Nola confronts him at his apartment and he just escapes public detection.

Soon after, Chris takes a shotgun from his father-in-law's home and carries it to his office in a tennis bag. On leaving, he calls Nola on her mobile to tell her he has good news for her. He goes to Nola's building and gains entry into the apartment of her neighbour, Mrs. Eastby. He shoots and kills her, then stages a burglary by ransacking the room and stealing some jewelry and drugs. As Nola returns he shoots her in the stairwell. He then takes a taxi to the theatre to watch a musical with Chloe. Scotland Yard investigates the crime and concludes it was committed by a drug addict stealing money. The following day, the murder is in the news. Chris returns the shotgun and he and Chloe announce her pregnancy.

Detective Mike Banner invites Chris for an interview in relation to the murder. Beforehand, Chris throws Mrs. Eastby's jewelry and drugs into the river, but by chance her ring bounces on the railing and falls to the pavement. At the police station, Chris denies knowing Nola, but Banner surprises him with her diary, in which he features extensively. He confesses his affair to Banner but denies any link to the murder, and appeals to the detectives not to involve him any more in their investigation, as news of the affair may well end his marriage just as he and his wife are expecting a baby.

Late one night, Chris sees apparitions of Nola and Mrs. Eastby, who tell him to be ready for the consequences of his actions; he replies that his crimes, though wrong, had been "necessary", and that he is able to suppress his guilt. At the same time, Banner dreams that Chris committed the murders. His theory is discredited by his partner, Dowd, who informs him that a drug peddler found murdered on the streets had Mrs. Eastby's ring in his pocket. Banner and Dowd consider the case closed and abandon any further investigation. The film ends with Chloe giving birth to a baby boy named Terrence, and his uncle blessing him not with goodness but luck.

Read more about this topic:  Match Point

Famous quotes containing the word plot:

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)

    Those blessed structures, plot and rhyme—
    why are they no help to me now
    I want to make
    something imagined, not recalled?
    Robert Lowell (1917–1977)

    The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.
    Charles Dickens (1812–1870)