Gefährliche Liebschaften

Among all Vadim's duds,"les liaisons dangereuses " seems to have stood the test of time better than the other "works" of the director.The reason is to be found in the cast.Gérard Philipe -though largely overshadowed by John Malkovich in Frears's version -and mainly Jeanne Moreau are earnest thespians and you cannot be wrong with them.And Roger Vailland and Claude Brulé had a good idea for the conclusion:fire instead of smallpox allows us to hear Laclos's immortal line "She's wearing her soul on her face!"

Objections to this early version -to be followed by half a dozen of them- remain:that the story should have been transferred to the sixties is eminently questionable:La Merteuil was a definitely modern original character in Choderlos de Laclos's times ;in 1960,such a woman's behavior had become banal.Vadim would do worse when he would transfer Zola's "la curée" to his era.

Proof positive that all that glittered in the nouvelle vague was not gold.

The magnificent eighteenth century novel of Choderlos de Laclos has proved irresistible to film-makers and has also inspired an opera and a ballet. I would be surprised were Roger Vadim to feature on anyones list of 'great directors' but he has surpassed himself in this first adaptation which has been updated to the 1950's. Vadim has the services of two of the finest French actors in Gerard Philippe and Jeanne Moreau and has also accommodated his partner at the time, Annette Stroyberg, as the seduced and abandoned Marianne. The main difference in this version is that the two unashamed libertines Marquise de Merteuil and Vicomte de Valmont are not former lovers but plain old Mr. and Mrs. Valmont which serves to give their intrigues and evil machinations even greater piquancy and no doubt accounted for the films problems with the censors. The casting of Gerard Philippe as Valmont is inspired as he is able to utilise his natural charm to devastating effect whilst Jeanne Moreau's mesmerising performance has only been matched by that of Glenn Close in Stephen Frear's film. Annette Stroyberg was inevitably labelled Bardot#2 which is a little unfair. Although her Marianne does not come across as being particularly virtuous she certainly engages our sympathy and we cannot but feel for her fate. To say that Vadim caresses her with the camera would be an understatement! This was still early days of course for Jean-Louis Trintignant as Danceney but he has enjoyed a spectacular career and is still with us at ninety. Mention must also be made of Simone Renant as the cynical, worldly-wise Mme Volanges. Although pointless to speculate one wonders how Philippe's film career would have panned out had he not been so cruelly taken at the age of thirty-six. He was already under threat, as were many of his colleagues, from the New Ripple brigade and would most likely have concentrated more on theatre work. As it turned out his final role in Bunuel's 'Fever mounts in El Pao' proved unworthy of his talents but his Valmont definitely ranks as one of his best. Vadim's direction is taut and the production values excellent, not forgetting the contribution of his preferred editor Victoria Mercanton. A critical failure but a commercial success this fascinating piece bears revisiting despite its stark reminder that all is less than fair in love and war.

Les liaisons dangereuses (1959) is a French movie co-written and directed by Roger Vadim. The film is a contemporary version of the 1782 novel by Pierre de Laclos.

Jeanne Moreau stars as Juliette de Merteuil, a beautiful but amoral woman. She lives by her own rules, which include serial infidelities and initiating seductions by one of her lovers, Valmont. (Portrayed well by Gérard Philipe.)

The target of their Valmont's seduction is Madame Tourvel, played by Annette Stroyberg. She became Annette Vadim when she married director Vadim after they met while making this movie. She was his post-Bardot sex kitten. (Unlike Moreau, she wasn't born to play the part of a virtuous young wife. She doesn't look pious or modest in the least.)

This movie has some merits--Moreau is perfect, and it's a pleasure to watch her act. Thelonius Monk composed the score, and Art Blakely and the Jazz Messengers have a long set when they are playing at a wild party. There's also the famous telegraph scene, which is powerful in a horrible sort of way.

The movie takes liberties with the plot of the novel, of course, but I think it captures the essence. However, a film about decadence and deceit isn't going to cheer you up. Ultimately, I think the blame lies with the novel, not the movie. It's a story about people that we don't like, and for whom we don't care much. That pretty much sums up my thoughts of the film.

The movie has a lackluster rating of 6.9, which which I agree. I rated it 7.

Many of the reviews here included are as good as anyone needs. Therefore, I will not waste your time, nor mine, writing a subjective take on what is a 6 to 8 point movie. What compels me to write, however, is a correction: the music was not written by Thelonious Monk, as is stated in at least two reviews. The credit goes to pianist Duke Jordan (1922-2006), contemporary and friend of Charlie Parker, except of course, that Jordan lived a much longer life, the last 25+ years (since 1978) in Denmark. For those who are interested, the full line up in the soundtrack includes: Sonny Cohn trumpet, Charlie Rouse tenor sax, Eddie Kahn bass, and Art Taylor drums. And, if you excuse a bit of trivia: Duke was married with jazz singer Sheila Jordan from 1952 to 1962 (at this writing, Ms Jordan is 89 years old and still performing!). Concluding, this movie has arguably one of the best jazz soundtracks of the time, not an uncommon event in French film during the 1950s and 1960s (e.g., Miles Davis, Art Blakey). This cool, post-bop, hard bop era was a great creative time for jazz, no doubt. Memorable and rewarded by time till this day.

This hyper-cool French updating of the Laclos classic is a blast from start to (amazing) finish; its immorality can be a drag in the middle section, but there's too much fun to be had in it to abandon it for that reason. Jeanne Moreau does the full range of bad girl, and her performance alone would merit a viewing, but you can also enjoy the film for its sleek, French attitudes, its Thelonius Monk score, a handsome young Jean-Louis Tritignant, his suits, her wardrobe, and so on, forever. It's a nasty little film is some ways, but I enjoyed it immensely just the same.