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At first discover, Uncertain LIAISONS appears to be an extravagant eighteenth-century period-piece, which it is; the powdered wigs and overflowing corsets typical of the genre are all here, and the cinematography is appropriately glossy. But boiling beneath the magnificent surface are the deviously zigzag sensibilities of two ghastly characters–the Marquise de Merteuil (Glenn Halt) and the Vicomte de Valmont (John Malkovich), a pair of schemers (and old-fashioned lovers) who buy pleasure in coolly manipulating and seducing those around them. The Marquise challenges the Vicomte to seduce the virtuous Madame de Tourvel (Michelle Pfeiffer), but when the latter finds himself genuinely falling in like with his intended prey, the game hasty turns fatal–with devastating consequences for everyone keen.
A period-piece? Yes, but one honed with a distinctly contemporary menace. It’s rare, for example, to bag a period-piece with such toothsome, razor-sharp dialogue (which garnered the film an Academy Award for Best Screenplay Adaptation) . It’s also rare to gather a period-piece that focuses primarily on sex, but treats its subject matter with so miniature eroticism. Perilous LIAISONS is more about power and one-upmanship; sex merely serves as the weapon of choice. It’s a diabolically arresting film, a decadent one even; there’s something both disturbing and appetizing about watching the two central characters indulging in their account for power plays.
The performances are strong for the most fraction (End, Malkovich, and Pfeiffer all received Oscar nominations), although the women fare distinguished better than the men. Glenn Cessation does a comely job as the scandalous Marquise, and supplies the film with some of its most explosive moments–the scene in which she quietly utters the word “War” without batting an eyelash is chilling beyond words. I didn’t completely capture Malkovich as the charming lady-killer (a runt but serious flaw that undermines the whole film), but he does a exquisite job with what he’s given. Keanu Reeves, as usual, is utterly unfathomable, even in a relatively minor section. The best performance of all is delivered by Michelle Pfeiffer; as the tormented wife, she bares every coast of her factual grief, and the results are heartbreaking to inspect. Late the cold-blooded duo of Cessation and Malkovich, it’s Pfeiffer who provides the emotional heart of the film, and in every one of her pained expressions lies the evidence of the very human consequences at stake.
There’s a determined degree of bad pleasure hidden beneath the depravity of “Unsafe Liaisons,” a film that is perversely splendid in its execution and daringly sportive in regard to its yarn. Based on the original by Choderlos de Laclos, the script by Christopher Hampton explores the cause and conclude nature of worship, betrayal, and heinous intentions in both droll and serious lights. While the material could be easily touchy and unaffecting, director Stephen Frears spices up his canvas with a glorious cast and a well-constructed production effect.
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At the center of the myth are two people who feed on the misery they cause others as a plot to withhold their urges for one another suppressed. Glenn Halt is the seductively unpleasant Marquise de Merteuil, a self-proclaimed “virtuoso of deceit” who believes it her duty to dominate the opposite sex, and avenge her have. Her latest undertaking involves the daughter of her naive friend Madame de Volanges (Swoozie Kurtz), for whom her old-fashioned lover left her. In hopes of ruining daughter Cecile’s (Uma Thurman) reputation, she calls upon beloved friend and partner in contemptible, Vicomte de Valmont, played by John Malkovich. Valmont, like Merteuil, prides himself on his accomplishments, and prizes the feeling of success that comes with the devastation he causes to women.
But he has different plans in mind, intriguing the seduction and extinguish of one Madame de Tourvel (Michelle Pfeiffer), whose ideals and virtues are the loyal opposite of these two unpleasant souls. His thought is concocted from the most cruel of intentions: to beget her want him so badly that she does not relinquish her beliefs, but instead is crushed by them once she gives in to his advances.
Imagine his surprise when he finds that his task will not be as easy as he had at first hoped. When he finds that Tourvel is far more resistant than first expected, he agrees to relieve Merteuil in her quest for revenge against Cecile. As the two weave their intricate web of deception and betrayal, Valmont finds himself in a dwelling he never imagined possible, and Merteuil finds herself in exertion of losing her grip over him.
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As you may have noticed, I’ve left out considerable of the vital place points concerning other characters; half the fun of this film is the unveiling of each harmful belief, all of which drop into dwelling in a manner that is ingeniously devilish and supremely potent. The manner in which these actions are carried out, and the overall effects they have, are unsettling, to be certain, yet there’s a wondrous sense of alarm about them, one that stems from the craftsmanship of such detailed revenges that are disturbing and mesmerizing at the same time.
For such a devious narrative to work, a talented cast is in order, and “Risky Liaisons” supplies us with precisely that. Glenn Halt is unusual as Merteuil, mastering with extraordinary wit and sensibility the calculating nature of her character. She wonderfully portrays the physical beauty old to shroud the cold-hearted novice with terrific gusto; in Merteuil’s “acquire or die” conversation with Valmont, Terminate sells us on the character, and also proves her worth as an actress.
Mirroring this delightfully substandard performance is that of Malkovich, whose appetizing wit and frosty masterminding of deceit are supremely effective. For his character to work, there must be two key factors involved: we must beget enough in his ability to seduce and slay, and we must be able to catch the change of heart that comes after meeting Tourvel. Malkovich is able to enact both with suave, debonair charm and honest emotional feeling within his words.
High praise to the supporting cast as well, who all give well-rounded performances. Pfeiffer portrays Tourvel’s resistance and innocence perfectly, as well as the heartache and hardships once she accepts her feelings for Valmont. The two pawns in Merteuil’s harmful game, Cecile and her young admire, Chevalier Danceny, are played by Thurman and Keanu Reeves with a much-needed naivety and innocent virtue that casts Merteuil and Valmont in an even more chilling light.
In my praise of the cast, I’ve neglected to mention the honorable art direction and production manufacture for “Uncertain Liaisons.” Some of the best sets and costumes ever designed for a period motion portray reside here, conveying the elegance and aristocracy of pre-Revolution France in a very correct manner; the bawdy, forceful get by George Fenton also receives high marks. Anyone looking for some fiendish fun with a believable premise need gawk no further than this film, a sheer delight of whimsy, devilish tainted, and grotesque elegance.
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