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4.0 out of 5 stars
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4.0 out of 5 stars
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on 24 January 2011
Great value. I love to see Colin Firth in an earlier role in a period drama. Lent to a friend who also loved it, just got to get it back now!
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on 17 November 2015
This is a totally different interpretation of the 'Liaisons dangereuses' novel. There is less detail in the events and dialogue; the atmosphere is more relaxed and homely, less intense; the structure more open not claustrophobic.
The plot focuses on Valmont and he is played believably by Firth as an imperfect young man, not a sex machine on legs.
Mertuil is shown as a much more tender, capricious figure than we see in the more popular 'Dangerous Liaisons'. Neither she nor Valmont seem like monsters or secret prostitutes; only weak ammoral humans who get hoist by their own petards.
We see Merteuil first as a social figure kind, happy, trusted and young. She is dumped by her lover and this triggers her lust for revenge; the relationship with Valmont is played down. He falls in love at his aunt's chateau - Lovely to see Gabrielle Drake in a very rare appearance [Love her voice] as the ever so slightly confused aunt.
I found that the story line got lost as the denouement approached. Why Valmont went to duel as he did is not clear. What happened to the disgraced married lover he was in love with is also not clear - though plainly she survives what is here shown as a very open and torrid affair. And the disgrace of Merteuil is certainly underplayed.
Despite excellent costumes - though Merteuil in several scenes wore the same outfit - hardly extravagant! - and a delightfully french 18th century feel to the photography and scene setting - the film left me dissatisfied. It was certainly created with intelligence and real thought but I suspect that the writers were not able to hold together the complexity of the relationships.
But definitely worth seeing and enjoying!
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on 25 June 2007
I think this film is really entertaining. How can you go wrong with a cast that includes the wonderful Annette Benning, the gorgeous Colin Firth and the mesmirising Fairuza Balk. I actually prefer it to Dangerous Liaisons although it is the same story.
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on 7 August 2014
very good good acting
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on 8 March 2007
Glenn Close versus Annette Benning- Annette brings a softness and mischevious quality to the role, however to believe and accept her ostraciziation as just deserts Glenn Close's viscousness was brilliant. Annette plays a silly woman who uses people and Glenn Close plays a very intelligent, exacting, cruel and lovely predator

Colin Firth versus John Malkovich? I like Colin I think he's really sweet and lovely, and he was more a fop then a calculating driven hunter. Plus his 'prey' in Meg Tilly and that very young girl who plays Cecile she looks thirteen! (Uma looks about sixteen or so at the least, mind u back then as long as the girl was having her period she was considered a woman) are just too easy.

I beleived in Michelle Pfeifer's moral fibre but Meg Tilly is a raving irrational push over.

John Malkovich is strong, seductive and in his own way noble, Colin played a silly young man playing with silly women/girls.

An interesting difference between this movie and Dangerous Liaisons, was this one they spoke french it didn't add much, and young Cecile keeps the baby and we meet her husband to be.

This one could be interesting to watch in how Dangerous Liaisons could have gone wrong, its an allright movie but Dangerous Liaisons is so much better.
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on 8 December 2016
Very nice 25GB blu-ray. Not a full blown 50GB "official" blu-ray, but lovely.
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on 5 February 2013
Although the description states it is loosely based on Dangerous Liaisons, it just seems like a weak, watered-down version of the story. Annette Bening (whom I don't mind as an actress) just seems miscast as the scheming marquise de Merteuil. I don't know if the film intended to be a bit farcical, but it just missed the mark. Dangerous Liaisons with Glenn Close and John Malkovich is a thousand times better.
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on 22 July 2016
Quality of product is as good as any. Film just wasnt for me.
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on 20 November 2014
Always loved the movie! Fast shipping, all good! Thank you
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on 22 February 2013
This was made at the same time as the peerless and infinitely superior DANGEROUS LIAISONS but its release was delayed on account of the mauling it would have had at the massed artillery of Hampton's et al's masterpiece. Milos Forman who had made the stunning AMADEUS, tries some of his same devices (including scoring by Sir Neville Marriner), a similar proscenium framing, richly-detailed costume and luxurious set-design but there are two fatal flaws in the project as it is presented to us here. The first is the casting: whatever Colin Firth's virtues may be, malice and a savagely wrecked heart are not among them; however plausible Annette Bening may have been to financiers at the time, she is also insufficiently dark, being merely naughty, while the other actors seem to belong to a casting rationale for an altogether lower budget-tier altogether, with the exception of the beautifully-voiced Mme de Tourvel, who is the most memorable performer in what is a mis-firing piece. And that is the problem: the production was so intimidated by its enemy, that it was a chaotic shambles by the time it started shooting. Instead of copying Hampton's take (which it would have been both pointless and illegal to have tried), it strives so hard to re-imagine LaClos' original work as a modern Hollywood take on romantic disappointment (almost heresy to Hollywood in anycase) that it mangles all of the orginal work's excoriating genius. The result is slow, clumsy (Valmont disappears for nearly half an hour and almost the entirety of the Second Act) and only hits its stride at 72 mins in, by which time it is much too late. DANGEROUS LIAISONS, by contrast, has started to conquer, within ten seconds of the opening titles. Even VALMONT's scoring is laughably bad. (Perhaps the budget was cut to meet expectations.) This is a half-hearted knees-up a long way behind the lines of authentic engagement with its subject and its dominating rival.
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