Updated adaptation of Choderlos de Laclos' classic 18th Century tale of seduction, betrayal and revenge set in the modern 1960s world of Parisian high society. The beautiful Madame de ...
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Juliette Merteuil and Valmont is a sophisticated couple, always looking for fun and excitement. Both have sexual affairs with others and share their experiences with one another. But there ... See full summary »
Ridden by guilt for not being able to have a child, wife decides to conceive by cloning. The daughter she gives birth to is therefor almost identical to her. The child starts to grow rapidly and slowly replaces mom in the household.
Zao, a retired cook living alone in an apartment. His day-to-day life consists mostly of routine; he meets with a fellow retiree, waters his plants, etc. But his predictable lifestyle is ... See full summary »
Based on the novel 'Les Liaisons Dangereuses,' this film is set in aristocratic 18th-century Korea at the end of the Chosun Dynasty. The irresistible temptress Lady Cho asks her cad of a ... See full summary »
The disturbed arts teacher, Anna Veigh, is hired by Mr. Laing as a governess to raise Flora and her brother Miles. Anna believes that the ghosts of the former governess, Miss Jessel, and ... See full summary »
Set in Baroque France, a scheming widow and her lover make a bet regarding the corruption of a recently married woman. The lover, Valmont, bets that he can seduce her, even though she is an... See full summary »
A man named Flyn (Il Lim) is on a mission to kill the men who raped his wife Olivia (Leelee Sobieski). He finds himself living a double life as a killer and a husband. He finds an ... See full summary »
Updated adaptation of Choderlos de Laclos' classic 18th Century tale of seduction, betrayal and revenge set in the modern 1960s world of Parisian high society. The beautiful Madame de Merteuil seeks vengeance against her ex-lover Gercourt when he becomes engaged to her young goddaughter, Cécile. Merteuil turns to her ex-lover/partner-in-crime, Valmont, famous for his reputation as a Don Juan, to seduce Cécile and emotionally destroy her. While on his mission, Valmont gets sidetracked when he goes to visit his aunt and falls for Madame Tourvel, a virtuous, married woman who knows of his womanizing ways, but that only makes the challenge more exciting to Valmont. Together, Madame de Merteuil and Valmont make a dangerous team and they will stop at nothing when it comes to matters of the heart. Written by
*** It is strange that I could have gotten them mixed up.
But perhaps not really.
I don't think Deneuve laughs or cries in 'Les Liaisons Dangereuses.' But the laughter I mentioned before in'Indochine'.
I don't think I remember any laughter in 'Indochine.' It now comes back.
Those sounds of Lalique were Deneuve's acting of weeping.
It is a most oddly inhuman sound when she "cries" on screen.
I wonder if her emotional range is limited to "great-actressy" sounds, because it is undeniable that she is a great actress.
Yes, those sounds are DIFFERENT.
They are parallel to the voices one hears that are mechanically produced and you hear them on the telephone.
Somehow robotic, but the sounds of Deneuve crying are moving. They sound like someone who can't quite cry. There hadn't been room for it before, so the ability was lost for her.
Or maybe they are the cries and tears of a kind of nobility. Maybe all her real grief is mute and experienced without any sounds, so that when she must weep in a role--and that weeping has to bow to convention in that it has to be heard as some kind of tears that a general public can understand as such--it inevitably sounds artificial.
Her most convincing emotions are anger and disgust. Expressions of dissembling are frequent, but an unadulterated joyousness does not seem to be in her repertoire.
We hear "French National Treasure" and we hear the inner revolt against this form of high machinic enslavement, a Deleuzian concept that can be found at the higher social levels just as at the lower. (I should have pointed out in my long notes on 'Les Liaisons Dangereuses', for anyone not familiar with 'Wild Palms', that I saw the former film in some ways an "heir" to the latter. 'Wild palms' was of course the Oliver Stone/Bruce Wagner miniseries of 1993, in which the Church of Synthiotics is a mutation of the Church of Scientology.
'Wild Palms' was more obviously cyber-oriented than 'Liaisons', but the modernization of 'Liaisons', a thing I can rarely bear personally whether in theatre or opera, does here make the thing even more menacing, regardless of the fact, pointed out by other reviewers, that a few things just will not quite translate from the bewigged period.)
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