Les Liaisons dangereuses, the 1782 epistolary novel by French novelist Pierre Choderlos de Laclos, originally published in four volumes, tells the amoral tale of two lovers-turned rivals who amuse themselves by ruining others and ultimately end up destroying each other. It is a cautionary tale, of such, with wickedly bawdy co-leads, told through a series of correspondences, mostly between the two rivals. As a work of fiction, it is an early exploration of malice and seduction, brutal in its characters and motives, and ends on a shocking note that contributed to its popularity over the centuries.
In 1985, this novel was adapted into a stage play of the same name by Christopher Hampton and performed by the Royal Shakespeare Company, then later performed on Broadway. It has seen many revivals over the years as well as a film adaptation in 1988 that went on to be nominated for the Academy Award for Best Picture. This adaptation, also penned by Christopher Hampton, opened up the setting some for the big screen and brought this delightful tale of debauchery to a wider audience. Those coming to it with no foreknowledge of the plot would find themselves in a world unlike the typical costume drama; a world where intimacy is used casually and callously and where love isn’t meant to be a factor at all in sexual conquests. It’s jaded and unpleasant at times, but it is also an examination of selfishness and amorality that we rarely see taken head-on in film.
Glenn Close is playing the Marquise de Merteuil, a spiteful woman who plots revenge against her ex-lover, the Comte de Bastide, who had recently ended their relationship in favor of his young virgin fiancée, Cécile de Volanges (Uma Thurman), who has spent her formative years in the shelter of a convent. Knowing Bastide prizes his bride-to-be’s virginity, Merteuil calls upon the equally unscrupulous Vicomte de Valmont (John Malkovich), another ex-lover of hers, to seduce and bed the young woman, spoiling her for her intended. Valmont declines, though, as he has set his eyes on a more difficult conquest, Madame de Tourvel (Michelle Pfeiffer), the devoutly religious wife of a member of Parliament who is currently a guest of Valmont’s aunt, Madame de Rosemonde (Mildred Natwick). Merteuil ups the ante, though. If Valmont can seduce and bed Cécile and provide written proof of the act, Merteuil will in turn sleep with him as well. With that offer on the table, Valmont accepts the challenge.
Seducing Tourvel proves more difficult than he anticipated, though, and he is forced to find a way to intercept her personal correspondence to find an edge. He also schemes his way into a key to Cécile’s bedroom, which he uses to blackmail and force himself upon her. Afterwards, Cécile feigns illness, and her troubled mother seeks help from Merteuil, who counsels the girl to take advantage of Valmont’s advances as a means to gain experience in bed before her upcoming marriage. After some time, Cécile ends up pregnant from the affair.
Meanwhile, Valmont is making inroads with Tourvel, as well, by taking advantage of her correspondences and playing against her religious convictions. He professes his love for her and is gradually wearing down her defenses. However, he can’t help but actually fall in love with her, and when the first opportunity presents itself to take her to bed, he finds himself backing off. But his own selfish pride won’t allow him to stay that way for long, and determined to get with Merteuil again, he returns to Tourvel and, through some ruthless manipulation, finally consummates his relationship with her. Merteuil, seeing that this lifelong bachelor has real feelings for once, mocks him for it and refuses to honor the agreement.
This is a film about unpleasant people doing unpleasant things to innocent people for their own selfish desires. It’s exactly the kind of film I generally find despicable. It does, however, redeem itself in the end by having some real consequences for all involved. This is no George Segal in A Touch of Class where infidelity goes relatively unpunished. Instead, those involved pay hefty prices in the end, some of them with their lives. Even Cécile, who is the closest to innocent amongst the leads, is punished heftily for her actions. She fights off Valmont’s advances when he initially enters her room at night, but even though she is telling him no, she has to admit that her body responds to him anyway. She is easily swayed by Merteuil’s reasoning, too, into a long and drawn-out affair with Valmont, convinced that she is simply gaining experience for her soon-to-be husband. This is a foolish bit of reasoning that she wouldn’t have fallen for had she not already wanted in her heart to keep the affair going. Her pregnancy and subsequent miscarriage are a steep price to pay for her actions.
Tourvel pays an even steeper price, though. She is a married woman with a deeply seated spiritual background. She knows that giving in to Valmont is wrong and initially stands strong against him. His whole desire to pursue her is based on how difficult it would be to accomplish. For him, it is not enough to bed her; he must do so while she still firmly believes it to be a sin. He cannot accomplish his goal if he breaks her of her convictions. By doing so, though, he ultimately destroys her.
Valmont and Merteuil’s deal is a despicable one and one that we never quite believe will go fulfilled. These two people are far too vain and self-serving to let it go at that. What happens to them is therefore most satisfying and befitting where these characters are in the final act. It is this conclusion that makes this film and keeps it from being as bitter and unsatisfying as A Touch of Class. It also helps that we have such great performers as Glenn Close and John Malkovich working off of each other. Glenn Close would get an acting nomination, one of many over the years, but to date she still hasn’t won one. This is something that must soon be rectified.
While the subject matter is repugnant, the performances and the repercussions overcome much of this and make for an interesting watch. Valmont and Merteuil are so viciously nasty that it’s well worth watching to see them get their just rewards in the end. What hurts the film, though, is seeing both Cécile and Tourvel being first seduced and then destroyed by Valmont in such a callous and carefree way, especially Cécile whose naiveté led her into a life of disgrace. Valmont’s disregard for anything but his own personal lust is so well realized that it really does add to the tragedy of everyone involved in this. Dangerous Liaisons may not be a pleasant experience as a film, but it is definitely a fascinating one.
Academy Award Nominations:
Best Picture: Norma Heyman and Hank Moonjean
Best Actress: Glenn Close
Best Supporting Actress: Michelle Pfeiffer
Best Screenplay - Based on Material from Another Medium: Christopher Hampton (won)
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Release Date: December 21, 1988
Running Time: 119 minutes
Rated R
Starring: Glenn Close, John Malkovich, Michelle Pfeiffer, Swoosie Kurtz, Keanu Reeves, Mildred Natwick, and Uma Thurman
Directed By: Stephen Frears
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