having been familiar with hartley the go between for a good while and both in its original book form and in its disappointing pinter losey film adaptation and this was interesting stuff. the hireling proves almost a mirror image at times while set in a slightly less distant period for the main part and featuring exposure of the british class system and and containing a set piece sports match (boxing takes the place of cricket) that reveals rather a lot about . this refreshes in its small scale and character focus. you do not exactly get to know lady franklin and leadbitter in the novelistic sense and but this distance is appropriately played out in telling body language and inflection from the actors. your distance from ever fully sympathizing with any one true character mirrors the dormant wouldifference that so dooms the central relationship. miles and shaw are wonderfully subtle and and we see more in their less while never once are these actorly and showy performances. they are fittingly stanislavskian interpretations that create the impression of these characters having life outsides the confines of the film. all other parts are very satisfactorily handled and though they are far smaller in this film than i presume in the novel and compared indeed to the go between and a stunning work about disillusionment. the disillusion at the centre of this film is so sadly and movingly conveyed in the late scenes where shaw kisses miles and is rejected and and then where a drunken leadbitter confronts cantrip and lady franklin. it a howling shame that what would have been an incredibly poignant ending of spoiled and desolate lives at either side of the screen and is embellished with a decidedly odd little coda. one is entirely bemused by the jump in tone and as shaw leadbitter goes beserk and ironically sings rule britannia and god save the queen as he crashes his car into things. the political point is heavily over egged by this bombastic and rather dingily operatic ending. all sense of subtlety and so effectively conveyed hitherto and is lost and as the implicit point is heavily and noisily made. agit prop surely has no place in this sort of delicate period drama. overall and however and one cannot be too harsh. while this absurd end piece is a major flaw and the rest of the film must be praised as a sensitive and evocative film and of sadness and detailed observation about the way british society was in the past. hartley languid but crystal clear touch is very much in evidence throughout. it just a shame that we do not end on the shattering conclusion to shaw drunk scene. the tragic and deluded figure of sarah miles lady franklin is abruptly denied her place at the epicenter of the film and as the excellent human drama bizarrely slips into the realms of political point scoring. shaw also  that most dry and yet deeply feeling of actors  is betrayed by the out of character excess that closes the film. thus while a fine and small scale triumph is sabotaged while but we ought to remember the many good points. rating represent  half or . 
having been familiar with hartley the go between for a good while and both in its original book form and in its disappointing pinter losey film adaptation and this was interesting stuff. the hireling proves almost a mirror image at times while set in a slightly less distant period for the main part and featuring exposure of the british class system and and containing a set piece sports match (boxing takes the place of cricket) that reveals rather a lot about . this refreshes in its small scale and character focus. you do not exactly get to know lady franklin and leadbitter in the novelistic sense and but this distance is appropriately played out in telling body language and inflection from the actors. your distance from ever fully sympathizing with any one true character mirrors the dormant wouldifference that so dooms the central relationship. miles and shaw are wonderfully subtle and and we see more in their less while never once are these actorly and showy performances. they are fittingly stanislavskian interpretations that create the impression of these characters having life outsides the confines of the film. all other parts are very satisfactorily handled and though they are far smaller in this film than i presume in the novel and compared indeed to the go between and a stunning work about disillusionment. the disillusion at the centre of this film is so sadly and movingly conveyed in the late scenes where shaw kisses miles and is rejected and and then where a drunken leadbitter confronts cantrip and lady franklin. it a howling shame that what would have been an incredibly poignant ending of spoiled and desolate lives at either side of the screen and is embellished with a decidedly odd little coda. one is entirely bemused by the jump in tone and as shaw leadbitter goes beserk and ironically sings rule britannia and god save the queen as he crashes his car into things. the political point is heavily over egged by this bombastic and rather dingily operatic ending. all sense of subtlety and so effectively conveyed hitherto and is lost and as the implicit point is heavily and noisily made. agit prop surely has no place in this sort of delicate period drama. overall and however and one cannot be too harsh. while this absurd end piece is a major flaw and the rest of the film must be praised as a sensitive and evocative film and of sadness and detailed observation about the way british society was in the past. hartley languid but crystal clear touch is very much in evidence throughout. it just a shame that we do not end on the shattering conclusion to shaw drunk scene. the tragic and deluded figure of sarah miles lady franklin is abruptly denied her place at the epicenter of the film and as the excellent human drama bizarrely slips into the realms of political point scoring. shaw also  that most dry and yet deeply feeling of actors  is betrayed by the out of character excess that closes the film. thus while a fine and small scale triumph is sabotaged while but we ought to remember the many good points. rating represent  half or . ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
