Gefährliche Liebschaften

Shot in French, director Josee Dayan's `Les Liaisons Dangereuses' (2003) is the fifth film adaptation of the classic Choderlos de Laclos tale of amorality, deceit, revenge, betrayal, lust and love. In its extended 252 minute mini-tv series version, the film presents a reworked, coherent story reset into the 1960's. Because of awesome cinematography, a highly complementary musical score, and a first rate cast with superb performances from Catherine Deneuve, Rupert Everett, Nastassja Kinski, Leelee Sobieski and the supporting cast, `Les Liaisons Dangereuses' (2003) is a stellar integrated work that is candy for both the eye and the mind. All of the major characters have depth that is allowed to develop because of the mini-tv series format of 252 minutes (a lot longer than most films). This film is a rarity because it is entirely dialog driven. The editing is very tight and the film never drags. For mature audiences only, there is a look and feel to it that is absolutely riveting.

There are three dvd versions available: (1) in French with English subtitles, (2) English spoken by the actors, and (3) the definitive extended 3 dvd set in French with English subtitles and an interview with the director. (1) and (2) are truncated 200 minute versions with anamorphic transfers. I saw `Les Liaisons Dangereuses' (2003) on (3) and this is probably the dvd to watch because of its gorgeous anamorphic transfer in a European 2.35:1 aspect ratio, although it is listed as an anamorphic 1.78:1 aspect ratio. (3) is the extended version with a total run time of over 300 minutes, including a 50 minute director's interview.

There is a literary work of the same name that also serves as title to this article (Les liaisons dangereuses or Dangerous Liaisons), which was written by the writer Pierre Choderlos Laclos (1741-1803) and published in 1782, with a plot showing the human miseries of the high classes as far as feelings are concerned. Broadly speaking, it is a story of seduction, betrayal and revenge, where perfidy is the dominant element of that society of nobles, where love is nothing more than a caprice or a temporary passion. The work has been taken to the cinema in several occasions, but the versions more known are the French one of 1959, directed by Roger Vadim with acting of Jeanne Moreau and Gérard Philipe; the British production of 1988, directed by Stephen Frears; and the third one, which is the subject of this article, co-production Canada-United Kingdom-France, in miniseries for TV (2003), directed by the Frenchman José Dayan, set in Parisian society in 1960. Dayan chose a first-class actress to play the role of the seductive beautiful Madame Isabel de Merteuil, Catherine Deneuve, an elegant woman from head to toe, with a very suggestive look and really attractive movements. The libido of any man rises when he watches the figure of this actress in this miniserial. His interpretation as an entity devoid of love, full of ambitions and selfishness is simply masterful. The other antihero is the Visconde Sebastian de Valmont played by the English actor Rupert Everett, who became famous as an actor previously with a supporting performance in the comedy "The wedding of my best friend (1997)" by director P.J. Hogan. Everett played well the role of another depraved, who boasted of his personal beauty. It is not a purpose to describe the plot of the miniserial, but especially emphasize that the performances of their actresses and actors were all well done, to the extreme that it seems that they are the same characters in the novel. The interest in following the novel increases with its development.

As for how this production looks:

This mini-series is absolutely gorgeous. The director captures the essence of 1960s French Riviera without over-glamorizing, which is a good thing, because it is not necessary. The outdoor scenes (especially the horseback ones) are stunning. Costumes are very accurate and well thought out, especially for the female leads. LeeLee Sobieski looks alternately frumpy and seductive, just as most 18 year olds do in real life; showing a girl still figuring out how to present herself to the world. Deneuve's high society duds are probably the most spectacular, as they should be. Her character is draped in vivid reds and evocative jewelry. Kinski's clothes are virginal and chunky for the most part, as befits the wife of an ambassador...and yet her passionate exoticism cannot be held in check, and wins over repression in the end.

The storyline is the one we know well. I won't belabor telling it again. The mini-series was supposedly shot in both french and english language, but I did not find this to be true. I saw the english version. Some scenes were definitely shot in english, but others were simply dubbed...and it shows, which is too bad. If you rent or buy the DVD, I would advise watching it in french with english subtitles (if you can't speak french). Most, if not all, of Kinski and Everett's scenes in the english version were shot in english, while Deneuve and Everett's were mostly dubbed. In fact, there were only a few moments in the entire thing where Deneuve's lines were in english. For me, this created distance between her character and me as a viewer. Of course, her character is viciously evil and not one you would normally identify with, but villains CAN be empathetic. I did not find that here. Rupert Everett is slick and Machiavellian, with a slight vulnerability that is just right. LeeLee Sobieski is much more believable in this role than Uma Thurman was in the 1988 version. Nastassja Kinski, as Marie Tourvel, is the standout here. She does a marvelous job of representing the character arc (virginal wife to repentant adultress) that is required. Kinski wrote the book on portraying these kinds of heartbreaking roles (Tess, Magic of Marciano, American Rhapsody, The Claim...) and it is a shame she has been largely overlooked by Hollywood.

I highly recommend this mini-series, but watch the DVD in french with english subtitles, in order to get a better grasp of Deneuve.

How could a big splashy TV-event starring the combined beauty of Miss Deneuve, Miss Kinski and Miss Sobieski and the reptilian charm of Mister Everett miss?

By being rather dull and boring. Somewhat based on that stalwart tale of love, revenge, lust and hate 'Liaisons Dangereuse' the story takes place in a kind Swinging Paris and casts French Idol Deneuve as the Real Wicked Witch of the West. And that's the major fault of the otherwise adequate show: Miss Deneuve, looking alarmingly like Ivana Trump in decay, is much, much too old (and, I'm sorry to admit, old looking) to be credible as the most amoral woman this side of the Channel. Mister Everett fares a little better, but not much. Poor Nastasja Kinski! Once a glamorous and talented star she is relegated to a mere piece of furniture. And Miss Sobieski (said to be the great-great-great niece or something like that of Jan Sobieski, who defeated the Turks in the battle of Kahlenberg and so saved Vienna in 1683) appears rather frumpy and plumpy. No sings of her remarkable talent she demonstrated in the much underrated damsel-in-distress shocker 'The Class House' not so long ago.

All in all: a monumental waste of time and money. Even Roger Vadim fared better with his less-than-adequate modern version of de Laclos' glum tale.

First and foremost, this movie is beautifully filmed. The art director obviously had a ball with the sets, clothing, and other period details. He or She put a lot more care and detail into every scene than I would have expected, and it's a delight to watch. I find myself peeking into every nook and corner-. And the cars! Even if this movie was terrible in every way, it would be worth watching (or skimming) just to see the 1960's Rolls Royce, Maserati, Bentley and other gorgeous vintage European cars. Divine music: Motown, blues and a bit of rock and roll. This movie intentionally moves at a slow, even pace, and the richness of the period details help keep the mind and eye occupied. I'm not exaggerating by much when I say that this movie could be viewed with the sound off. It's like looking at a high-end fashion catalog from the early and mid-1960's - if you like that sort of thing (which I do).

Secondly, I think it's important to keep in mind that that this book was not originally written as either a morality tale or critique of ancien regime aristocrats. The fact that it's interpreted that way speaks only of our contemporary sensibilities. Valmont's death is pointless, and Merteuil loses nothing except her position within the demi-monde. Like Versailles the characters in this movie exist in an amoral plane. Common notions of morality simply do not apply to these aristocrats. The very rich (like the very poor), have nothing to lose.

Third, this is a very funny movie if viewed with a certain amount of irony. I'm glad this version doesn't psychoanalyze the characters - Everyone is exactly what they seem to be. If the characters were complex and 3 dimensional, watching the slow sadistic manipulation, seduction and disposal of other lifelike characters would be unendurably painful. As it is, it's comical. I can only smile and laugh at their breathtaking cruelty. One of my favorite scene is when Valmont's aunt Rosamonde tells him that Tourvel has left because he is making her suffer so. Biting his thumb and with a look of sheer demonic glee he asks "Is she really suffering?" Very very funny. But only because he is, existentially, a predator and nothing else. The director studiously avoids delving beneath the surface of these characters. True to the source material, (and life at Versailles) appearance is the only reality.

This movie is beautiful to look at, and it's a lot of fun to watch the audacity with which these cold, emotionally bleached aristocrats ruin others and themselves for no good reason (other than sheer boredom).