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At first study, Perilous 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 fine surface are the deviously hooked sensibilities of two shocking characters–the Marquise de Merteuil (Glenn Discontinuance) and the Vicomte de Valmont (John Malkovich), a pair of schemers (and extinct lovers) who catch 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 fancy with his intended prey, the game posthaste turns fatal–with devastating consequences for everyone alive to.
A period-piece? Yes, but one honed with a distinctly contemporary menace. It’s rare, for example, to collect 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 score a period-piece that focuses primarily on sex, but treats its subject matter with so runt eroticism. Perilous LIAISONS is more about power and one-upmanship; sex merely serves as the weapon of choice. It’s a diabolically titillating film, a decadent one even; there’s something both disturbing and exquisite about watching the two central characters indulging in their clarify power plays.
The performances are strong for the most fraction (Halt, Malkovich, and Pfeiffer all received Oscar nominations), although the women fare grand better than the men. Glenn Discontinuance does a pretty job as the depraved 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 occupy Malkovich as the charming lady-killer (a miniature but serious flaw that undermines the whole film), but he does a comely job with what he’s given. Keanu Reeves, as usual, is utterly unfathomable, even in a relatively minor allotment. The best performance of all is delivered by Michelle Pfeiffer; as the tormented wife, she bares every drag of her factual exertion, and the results are heartbreaking to notice. Slack the cold-blooded duo of Halt 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 definite degree of heinous pleasure hidden beneath the depravity of “Uncertain Liaisons,” a film that is perversely comely in its execution and daringly sportive in regard to its tale. Based on the modern by Choderlos de Laclos, the script by Christopher Hampton explores the cause and execute nature of esteem, betrayal, and detestable intentions in both comical and serious lights. While the material could be easily fretful and unaffecting, director Stephen Frears spices up his canvas with a blooming cast and a well-constructed production obtain.
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At the center of the chronicle are two people who feed on the misery they cause others as a procedure to withhold their urges for one another suppressed. Glenn Discontinuance is the seductively tainted Marquise de Merteuil, a self-proclaimed “virtuoso of deceit” who believes it her duty to dominate the opposite sex, and avenge her beget. Her latest undertaking involves the daughter of her naive friend Madame de Volanges (Swoozie Kurtz), for whom her conventional lover left her. In hopes of ruining daughter Cecile’s (Uma Thurman) reputation, she calls upon beloved friend and partner in atrocious, 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, intelligent the seduction and kill of one Madame de Tourvel (Michelle Pfeiffer), whose ideals and virtues are the trusty opposite of these two bad souls. His thought is concocted from the most cruel of intentions: to fabricate 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 assist Merteuil in her quest for revenge against Cecile. As the two weave their intricate web of deception and betrayal, Valmont finds himself in a location he never imagined possible, and Merteuil finds herself in pains of losing her grip over him.
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As you may have noticed, I’ve left out noteworthy of the significant location points concerning other characters; half the fun of this film is the unveiling of each tainted opinion, all of which descend into area 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 definite, yet there’s a wondrous sense of horror 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 memoir to work, a talented cast is in order, and “Hazardous Liaisons” supplies us with precisely that. Glenn End is unique as Merteuil, mastering with fantastic wit and sensibility the calculating nature of her character. She wonderfully portrays the physical beauty aged to cloak the cold-hearted novice with terrific gusto; in Merteuil’s “earn or die” conversation with Valmont, Finish sells us on the character, and also proves her worth as an actress.
Mirroring this delightfully bad performance is that of Malkovich, whose palatable wit and frosty masterminding of deceit are supremely effective. For his character to work, there must be two key factors involved: we must maintain enough in his ability to seduce and extinguish, and we must be able to gather the change of heart that comes after meeting Tourvel. Malkovich is able to execute both with suave, debonair charm and accurate 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 disagreeable game, Cecile and her young treasure, 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 safe art direction and production beget for “Perilous Liaisons.” Some of the best sets and costumes ever designed for a period motion recount reside here, conveying the elegance and aristocracy of pre-Revolution France in a very upright manner; the bawdy, forceful fetch by George Fenton also receives high marks. Anyone looking for some fiendish fun with a believable premise need observe no further than this film, a sheer delight of whimsy, devilish irascible, and grotesque elegance.
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