Gruel inventions
or
The First Days Following The PrePubescent Licking of Pap
Lapel When Things Begin to Get Finger-Pluckin' Good
might have served as an alternative
title to this movie. What ever moved someone to take a
perfectly good novel like Les Laisons Dangereuses and turn it
into the usual bill of fare found on offer for the post-Porky
generation?
Cruel Intentions
photo: Melissa Moseley
© 1999 Columbia Pictures
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Let us pause for a very short view of cinematic
history. First, there was Vadim's LLD with Gerard Phillipe and
Jeanne Moreau, followed by Stephen Frears' DL with two
Americans (one sporting a disturbingly American dialect),
followed by Forman's V with a closer kinship to the original
flavor on screen, and now CI, which plunges the tale to even
lower depths undreamt of even by Pierre Laclos. Technically
well made, it misses "panache", if you'll excuse my French.
Although, on the other hand, it might be worth your qualitative
viewing if you felt inclined to pass on the Glenn Close-John
Malkovich movie from script adaptation by Christopher
Hampton. (In fact, one might almost think Ryan Phillipe -no
relation to aforementioned- has either taken voice lessons
from Mr. Malkovich or laboriously studied his mannerisms and
speech intonations in the role of Valmont by watching the tape
repeatedly. Close your eyes and check it out.)
Kathryn Merteuil (Sarah Michelle Gellar) and Sebastian
Valmont (Ryan Phillippe) number themselves among the
vicious brats of the filthy rich from old money families. They
live on New York's Upper East Side across from Central Park
and treat the doorman like dirt. Kathryn's pissed off because
her old beau, Court Reynolds, has dumped her for the more
innocent, none too bright and fairly frumpy Cecile Caldwell
(Selma Blaire). Kathryn decides to use her influence and turn
her into a tramp, thereby transforming her into the kind of girl
that Court would never want to marry. Sebastian, her step-
brother, as fate (or scriptwriter) would have it, is the perfect
instrument to seduce Cecile since he's been around and seen
(and had) most of it; after all, he isn't a teenager anymore. But
Seb has his sights set on the more challenging Annette
Hargrove (Reese Witherspoon), whose been busy flaunting her
lily-white virginity in Seventeen magazine. Enticed as well by
the near-impossibility of the conquest, Kathryn wages a night of
unbridled pleasure in the saddle with herself if Sebastian is
actually able to bed his prey. Sebastian bites. If he loses the
bet, he must, in return, hand over his 1956 Jaguar to Kathryn.
The rest mainly follows the original tale, but the twist at the
end, which was most likely intended to introduce something
new and different to the original, seems to have missed the
excruciatingly pertinent and poignant point that the pain and
tragedy experienced by the cruel female manipulator was
experienced through a severe emotional loss and not goaded
on by social ostracism. Here it seems that the loss of her gold
card is the worst thing that could happen in her life. So much
for pre-millennium morality among the The Big Apple post-pube
set.
Decadence can be so boring in the young, if not handled
properly.
Someone's been sleeping in my bed, and he's still in the
drawer underneath.
Been there, done that.
© 1994-2006 The Green Hartnett
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