Valmont

I must confess that the first time I saw that movie, few years after it's release, I couldn't help, but find it a pale version of Stefan Freirs "Dangerous Liaison". Recently I have seen both movies and I must say that my opinion is quite the opposite now. In "Valmont" everything is subtle and I think this is why most people didn't get it. You can destroy someone's life without having written "I'm Bad!" on your forehead. With her slow-velvet voice Annette Bening is a snake under a rock:she is terrifying. As for Colin Firth's Valmont he is charming, he flies like a butterfly, but he knows exactly what he is doing. We believe in his seduction not because we are told to but because we are seduced ourselves. People have been saying that Valmont was too light, too boyish. There is nothing boyish in the way he says at Mme de Tourvelle "Is that what you want?" You see at that point how his hight-pitched voice, that goes with his voice and smile, is only a mask, as powder was John Malkovitch's mask. Colin Firth said that Milos Forman was too subtle for his own good and I think this is why some people can still find "Dangerous Liaisons" more powerful. As for "Valmont" even if the end is a bit weak, I wouldn't hesitate to say that it is from far the best version of the two movies. For those who go by the book, as I once did, you might be puzzled by the differences with the original story but for its deep sensitivity, its wonderful cast and this art of subtlety, it's really worth every moment of it.

'Valmont' was overshadowed by the popularity of 'Dangerous Liaisons' which released just about a year before. Both movies were based on the same novel. It has been too long since I last watched 'Dangerous Liaisons'. I remember the ending being slightly different and the acting a little more dramatic.

'Valmont' solidly makes its own stand. Milos Forman gives it a slightly larger than life look with the colourful lavish sets and exquisite costumes but he balances it wonderfully with the actors' subtle performances, a beautiful soundtrack and stunning cinematography.

Forman tells the story very well. Even though I had a vague idea of what it was about, I liked Forman's presentation and he still managed to surprise me a few times. 'Valmont' brings forth some strong themes, such as that of love, seduction, lust, sexuality, marriage, chastity, monogamy and envy. All themes are brilliantly incorporated into the story and characters. Additionally , the viewer delightfully benefits from some splendid lines, especially the dialogue delivered between Annette Bening and Colin Firth. Their sequences along with the one where a soaking wet Meg Tilly asks Valmont to love her and a dance number where Valmont dances with four women are some of the most memorable movie moments.

Needless to say, each and every one of the performances are first rate. I couldn't picture anyone else other than Colin Firth in Valmont's shoes. He plays the part naturally, fitting it like a comfortable glove. Annette Bening is delightful as the playfully wicked baroness. Meg Tilly is wonderful as Tourvel. Fairuza Balk is a great choice as she possesses the innocence, naivety and youthfulness of Cecile.

Valmont is definitely not your average costume drama. While it tells an engaging story on human relationships, it raises some interesting questions on the aforementioned themes, questions that hold strongly relevant for today's world too. It's a stunning cinematic piece.

"Valmont" is a 1989 film based on the novel Les Liaisons Dangereuses by Choderlos de Laclos, as well, of course, the better-known film Dangerous Liaisons starring Glenn Close and John Malkovich.

Here, Annette Benning is the Merteuil who is stunned to learn that her lover, Gercourt (Jeffrey Jones) is betrothed to the fifteen-year-old virginal Cecile (Fairuza Balk). She makes a bet with her Casanova-like friend Valmont (Colin Firth) that he can seduce Cecile so that on her wedding night, she is not a virgin, thus giving Merteuil revenge against Gercourt. Of course, the best-laid plans and all that - Cecile is in love with her music teacher (Henry Thomas), and Merteuil aids and abets the romance as much as possible. But things become more and more complicated, with Valmont, the eternal playboy, actually falling in love himself. And as the story says, once you fall in love, your power is gone.

This film is far superior to the more famous one. Forman is a fantastic director, and the cast warms up what is basically a cold, calculated story and really makes you care.

Annette Bening is more full-dimensional than Close's Martueil - she's beautiful, smart, and she's so sweet and lies so beautifully one has no idea what she's really like. Firth's Valmont is far more believable than Malkoitch's egomaniacal portrayal.

Henry Thomas is the desperately in love music teacher - it's good casting, but he comes off as too modern. It's a minor point because the entire cast is wonderful, including Fabia Drake as Madame de Rosemond, Sian Philips, Meg Tilly, and Fairuza Balik.

The film is beautiful to look at, sumptuously and carefully produced. It's a sad case of being the second film version out when the first was better marketed with a more American cast. Nevertheless, it's not too late to discover this gem.

Milos Forman's version of 'Dangerous Liasons' was relegated to the second tier at the time of its release, which occurred close on the heels of Stephen Frears' version starring Glenn Close and John Malkovitch. I saw them both in the theatre when they were released and from the start enjoyed Forman's film far more than Frears'.

Annette Beining is a wonderful Madame de Mertueil, beautiful, intelligent, ruthless and in the end tragic. Glenn Close is pretty two-dimensional by comparison for Frears. And Colin Firth is more the laughing cavalier, with a heart, than was John Malkovitch for Frears, who mostly grimaces smugly and is highly distasteful and ego-centric. I liked Firth's sense of humor about himself, it makes the ending more poignant.

On paper some of the casting of Forman's version seems questionable, but all, except one, work very well. Most surprising was Henry Thomas's young lover. Thomas can be a dull actor but his reticent performance is apt for the gauche young man learning the ropes of 18th century Parisian society. Fairuza Bulk is delightful and funny as the virginal Céline. The supporting cast, notably Fabia Drake's dotty old Madame de Rosemond, are excellent. Siân Philips and Jeffrey Jones provide some very funny moments, though their characters are anything but "funny".

Only Meg Tilly falls short. Her American accent and modern delivery of the lines is disappointing. But she is a good actress and manages to convince in the end, though a more "Frenchified" performer would have served the story more effectively.

The music, cinematography and choreography are superb. The settings are very beautiful.

Forman's 'Valmont' deserves to be reconsidered by those critics who found it lacking when it first appeared.

Cecile (Fairuza Balk) is a 15 year old who has been living in a convent for 6 years. She's happy that her mother Madame de Volanges (Siân Phillips) has arranged a marriage for her to Gercourt (Jeffrey Jones). Volanges trusts her cousin Marquise de Merteuil (Annette Bening) to guide Cecile but she doesn't know that Gercourt discarded Merteuil as his lover. For revenge, Merteuil intends to spoil Cecile's virginity and thereby her pending marriage to Gercourt. She asks her former lover, the Vicomte de Valmont (Colin Firth), to do the seducing but he refuses. He is more interested in bedding the married Madame de Tourvel (Meg Tilly). Merteuil makes an indecent bet with Valmont. Meanwhile Cecile falls for her music teacher Danceny (Henry Thomas).

Director Miloš Forman brings a lascivious feeling to the material. The romance is drained out of this which is replaced with something darker. Fairuza Balk is shockingly young which only adds to its forbidden realism. Whereas the great Dangerous Liaisons feels luscious and beautiful, this version feels dirtier and uglier. Annette Bening is wonderful. This is an interesting second look at the same story.