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Buy Cheri At Amazon!
by glennjoseph1956 on nov.27, 2009, under Cheri
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Buy Cheri At Amazon!.
Product: Cheri Amazon Price: Sale Price Too Low To Display Availability: In Stock |
There’s a fleeting but telling moment in Stephen Frears’ “Chéri” when the aging Lea de Lonval (Michelle Pfeiffer) stands on the balcony of her hotel suite, staring down at a remarkable younger man lifting weights on the beach. Their eyes lock for a moment, and the young man turns ever so slightly to give her a better seek at his biceps. It’s not as if she couldn’t have this man; she is, after all, a fabulously rich courtesan, one of the most successful to emerge from the La Belle Epoque era at the turn of the last century. Unfortunately, the man she gazes upon is nothing more than reminders of what she no longer has, one being her young lover, the other being youth itself. She must now go through the process of letting go and intelligent on, a feat that proves to be grand easier said than done.
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The tale of “Chéri” is indeed a tragedy, but Frears and screenwriter Christopher Hampton (who adapted the modern current by Colette) clearly had no desire to build the audience sob. Rather, they wanted to be humdrum and to the point, realistic instead of sentimental–they wanted the audience to ruminate on what’s possible given the plot. While this is certainly one of the film’s greatest strengths, most of the success is due to the performances, which are dramatically charming yet believable at the same time. Pfeiffer is especially unbelievable as Lea, a woman with who clearly has feelings yet has made a career out of repressing them. It’s not in a courtesan’s best interest to scream her mind or descend in treasure, but as we all know, emotion can often times acquire the better of us when we’re distracted.
The story: Lea is beseeched by her equally rich friend/rival, a outmoded courtesan named Charlotte Peloux (Kathy Bates), to persuade her son, Fred, who Lea has known since he was a child and has nicknamed Chéri (Rupert Friend) . At age nineteen, Charlotte feels that Fred is obsolete enough to marry and have grandchildren, which is really what this is all about. Unfortunately, Fred is fretful and temperamental, not at all frail enough to be a husband or father. Charlotte wants Lea to fabricate a man out of her son. What was intended to be a few weeks of conditioning ended up becoming six years of decadent passion, Lea the provider of mammoth rooms and lavish gifts, Fred the self-indulgent boy who happily takes what she freely offers. Freud would have a field day with this one, seeing as Lea and Fred essentially section a mother/son relationship augmented by sex.
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When Fred returns to his precise mother, he learns that she has arranged a marriage for him–to Edmee (Felicity Jones), the eighteen-year-old daughter of Marie Laurie (Iben Hjejle), another courtesan. Only then do Fred and Lea realize that their casual relationship has grown into esteem. Partly as a design to cope with her feelings and partly as a design to build Fred jealous, Lea secretly goes on a retreat to a seaside hotel, telling not a soul where she is or for how long she will be there. During this time, she continues to create advances on rich and impressionable young men. Likewise, Fred continues to be his gloomy self, initially showing no proper interest in his modern wife. There does arrive a moment, however, when he realizes that he and Edmee have more in accepted than he first thought; both were raised by mothers who had no exact interest in them except at such moments when it profitable them best. In essence, they’re orphans.
The tragedy of this record comes from the knowledge that Lea and Fred were destined to plunge in esteem yet born too far apart. The film handles this not with weepy melodrama but with a murky, reserved dignity, the kind that comes from adherence to strict professional guidelines. Courtesans in particular have it hard, financially well off but socially shunned. The only outlets they seem to have are other courtesans, who rely on the same mindless topics for every conversation. Long term relationships are certainly out of the question; it’s not about falling in savor, but supporting yourself. Lea, desperately clinging to the conception of recapturing her youth with Fred, conveniently ignores this cardinal rule. One wonders if she knew all along how disastrous it is to play games in matters of the heart.
A big allotment of the reason this movie works so well is because of Michelle Pfeiffer, who gives Lea such astounding charm and poise, her breathy, exaggerated relate the very embodiment of beauty, pleasure, and extravagance, all available for a note. But all the actors are very well cast. Kathy Bates is priceless as the overbearing Madame Peloux, and Rupert Friend brings spacious arrogance and immaturity to the title character. “Chéri” is also a triumph of visual appeal, production designer Alan MacDonald, cinematographer Darius Khondji, and costume designer Consolata Boyle convincingly evoking the witness and feel of early twentieth century Paris. The entire film is a sensual experience that envelopes the audience, a somber but splendid excursion into a world of carefree opulence, hidden feelings, and panicked romances. It’s practically a tragedy waiting to happen.
A rapture of visual, audio and cinematic emotional brilliance all tied with a killer last line. What a wonder is area before the viewer when one enters the world of “Cheri”.
The visual richness of this parfait of the Belle Epoch is breathtaking from the rich creamy art neuveau architecture to the gloriously realized costumes of the early 20th century. What they only indicated in “Spacious” of the same period costumes. Explodes in luxury and in a sense informs the contemplate to the scene at hand and seems less costume than authentic clothing.
As Cinema “Cheri” succeeds as more than an adaptation of a Collette unusual but becomes a world unto it’s beget. Here we are presented with some of our finest female performers at the top of their game. In short I am speaking of Michelle Pfeiffer and Kathy Bates. As frail courtesan rivals who are now aging friends they reach together to justify the last share of their lives and the beginning of Bates’ son’s life in a considerable method.
Kathy Bates goes deep into the complexities of her mix of comedy and nuanced drama in the same arrangement she did with Annie Wilkes. Not to say that the characters of Annie and Madame Peloux are anything alike. But Miss Bates takes this role to a pleasurable level while all the while not letting you peer her do her magic. She is honest THERE! The scene where her face decays from a radioactively sunny laugh to speak her good deepest disgust her base soul is priceless.
Then there is Michelle Pfeiffer as Lea de Lonval, at fifty one she may be older that the literary Lea but she has never been more lustrous or nearly goddess like. To glance at her is to notice upon a woman of a positive age that is ageless in her embrace of times changing hands upon her face. But there is more. This may be the pinnacle of her career, the role of her lifetime. She is Lea in so many levels both within her acting and in a sense as an actress. She is glorious and brings forth the soul of a huge character as only our finest actors can.
But all of this would seem a toothsome trifle, a light epic of an aging courtesan and her young lover if it were not for the narration that gives the film added depth and gravitas. I asked a friend today what he opinion of the final outcome of the fable. Of what the narrator reveals of what became of Cheri. He tossed it off lightly and said that it seemed an after notion. He could not have been more scandalous. He missed the whole point of the film. The last lines of the film that philosophize us of the ultimate fate of Lea and Cheri are what give this film an emotional strength, irony, and ultimately heart wrenching tragedy. It is the final twist area into a glowing jewel of a film that is as curious and sharp as Lea’s mysterious emerald ring.
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