Gefährliche Liebschaften

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.

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.

...for many reasons. few - the mark of Roger Vadim on a story almost classic, the presence of Boris Vian in a role reflecting his work, the cold chemistry between Jeanne Moreau and Gerard Philipe and for the most inspired soundtrack. because it is a jazz film. with improvisation and tension, seduction and precise picture of near reality. more than an adaptation, it is a confesion. Valmont by Philipe, one of his last roles, is more than an example of good job but a testimony about the force and nuances and beauty of the great game of nuances for a special actor. because it is not an ordinary film. it reflects its time more than the source of inspiration novel and the contemporary lost of emotion, form of profound insensitivity/cruelty/egocentric circles in brilliant way. and this is the motif to see it. maybe twice. for admire an authentic masterpiece. and an useful warning.

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.

This is one of the movies (not many) where the remake "Dangerous Liaisons" of Stephen Frears wins by a large margin.

First of all those movie had one Great Actress in Jeanne Moreau. Bur ir as an incompetent Director in Roger VAdim and some miscasts like Gérard Philippe as Valmont. Perhaps the main culprit is "Roger Vailland". I'm am very fond of "Vailland",love is novels (namely "Drôle de Jeu", but I've read them when I was too young. Nowadays I believe that is is the wrong kind of scriptwriter. Also Roger Vadim did not care for literature. Ask Brigite Bardot. This is a semi-failure. See it only id you are a fan of Jeanne Moreau. There is more eroticism in "Journal d'une Femme de Chambre" by Luis Buñuel than here, about "boudain". "morcilla" or just plain English "sausage". The Anglo-Saxons cannot make sausages and the current laws forbid to to it properly..