Dangerous Liaisons (1988)

A period-piece? Yes, but one honed with a distinctly contemporary menace. It's rare, for example, to find a period-piece with such delicious, razor-sharp dialogue (which garnered the film an Academy Award for Best Screenplay Adaptation). It's also rare to find a period-piece that focuses primarily on sex, but treats its subject matter with so little eroticism. DANGEROUS LIAISONS is more about power and one-upmanship; sex merely serves as the weapon of choice. It's a diabolically entertaining film, a decadent one even; there's something both disturbing and enjoyable about watching the two central characters indulging in their elaborate power plays.

The performances are strong for the most part (Close, Malkovich, and Pfeiffer all received Oscar nominations), although the women fare much better than the men. Glenn Close does a magnificent job as the evil 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 buy Malkovich as the charming lady-killer (a small but serious flaw that undermines the whole film), but he does a fine job with what he's given. Keanu Reeves, as usual, is utterly unfathomable, even in a relatively minor part. The best performance of all is delivered by Michelle Pfeiffer; as the tormented wife, she bares every inch of her moral anguish, and the results are heartbreaking to behold. Behind the cold-blooded duo of Close 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.

At the center of the story are two people who feed on the misery they cause others as a way to keep their urges for one another suppressed. Glenn Close is the seductively evil Marquise de Merteuil, a self-proclaimed "virtuoso of deceit" who believes it her duty to dominate the opposite sex, and avenge her own. Her latest undertaking involves the daughter of her naive friend Madame de Volanges (Swoozie Kurtz), for whom her former lover left her. In hopes of ruining daughter Cecile's (Uma Thurman) reputation, she calls upon beloved friend and partner in evil, 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, involving the seduction and ruin of one Madame de Tourvel (Michelle Pfeiffer), whose ideals and virtues are the exact opposite of these two wicked souls. His plan is concocted from the most cruel of intentions: to make 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 aid Merteuil in her quest for revenge against Cecile. As the two weave their intricate web of deception and betrayal, Valmont finds himself in a position he never imagined possible, and Merteuil finds herself in danger of losing her grip over him.

As you may have noticed, I've left out much of the important plot points concerning other characters; half the fun of this film is the unveiling of each evil plan, all of which fall into place 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 sure, yet there's a wondrous sense of awe 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 story to work, a talented cast is in order, and "Dangerous Liaisons" supplies us with precisely that. Glenn Close is outlandish as Merteuil, mastering with incredible wit and sensibility the calculating nature of her character. She wonderfully portrays the physical beauty used to mask the cold-hearted novice with terrific gusto; in Merteuil's "win or die" conversation with Valmont, Close sells us on the character, and also proves her worth as an actress.

Mirroring this delightfully evil performance is that of Malkovich, whose delectable wit and cool masterminding of deceit are supremely effective. For his character to work, there must be two key factors involved: we must believe enough in his ability to seduce and destroy, and we must be able to accept the change of heart that comes after meeting Tourvel. Malkovich is able to accomplish both with suave, debonair charm and true 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 wicked game, Cecile and her young love, 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 superb art direction and production design for "Dangerous Liaisons." Some of the best sets and costumes ever designed for a period motion picture reside here, conveying the elegance and aristocracy of pre-Revolution France in a very accurate manner; the bawdy, forceful score by George Fenton also receives high marks. Anyone looking for some fiendish fun with a believable premise need look no further than this film, a sheer delight of whimsy, devilish evil, and grotesque elegance.