It’s what I remember most about my first viewing of Miloš Forman’s Valmont. I had just seen Amadeus and the description of the film sounded saucy fun to be of interest to a 13-year-old cineaste. As I began to watch I found what “edited for television” meant. Yes, I was disappointed BUT, was drawn to the familiar storyline of dueling Casanova’s (female and male) and their affairs and destruction of societal elites for fun. It was only later I would find out that Valmont was based on the same source material that Christopher Hampton used for his stage play and eventual movie Dangerous Liaisons.
The Stephen Frears film adaptation is a more “socially acceptable” version of the story with 20-somethings Uma Thurman and Keanu Reeves playing teens who factor heavily in the games Valmont and Marquise Merteuil are engaged in. Forman’s Valmont cast literal teens (Fauriza Balk and Henry Thomas, respectively) which reframes the story for the film. Where Dangerous Liaisons is “devilish” fun, Valmont shows us the abhorrent and gross way elite society, even then, trading beauty as “fresh meat” to the wolves. Forman’s film hides the contempt but barely as we see these “people” for what they are as soon as we see these innocent children used and abused as flesh pawns for their baser instincts and climbing social ladders.
Valmont like Amadeus is a sumptuous affair that never strays too far from the gutter and ick of the era and time. Foreman and cinematographer Miroslav Ondříček use low-light photography that would make John Alcott proud (and jealous). There is a beauty that feels natural and lived in. Oftentimes films of this ilk and genre favor the “perfume commercial” route that creates that bodice ripper novel cover visuals that can be almost a parody of itself. Valmont never goes into that parody, rather feels and looks as though the stank of rot and bile Is always just around the corner.
Colin Firth and Annette Benning may be the equal if not better of every iteration of Valmont and Marquise Merteuil. It’s because of the truly evil and insipid way they suck the marrow out of anything or anyone they come in contact with. The unapologetic way the film allows them, without judgment, to be truly awful and thus period-appropriate is thrilling and horrifying in equal measure. Firth keeps the British charm on full. So much so one does not even notice the ridiculous Florida-style Joe Dirt Mullet, they saddle him with.
However, it is Annette Benning who steals the show as Marquise Merteuil. The excitement and raw rambunctious sexuality she brings to the film is something we would never see again from the actor, much to our loss. Benning never plays it as so on the nose. Her work is not a crass femme fatale but rather a highly intelligent operator and social climber bored and crossed with society. One that wouldn’t mind burning it all down for her own amusements and to see what happens.
The verbal sexual duels between Firth and Benning are the kind of fireworks that many attempt and few succeed at on screen. This is no more apparent than in the final confrontation between Valmont and Marquise Merteuil after he has come to claim his “prize”. Watch how each vies for power and supremacy over the other. There is nothing different in the words and power struggles than a pair of voracious lovers twisting and turning in bed trying to be the one “on top”. Even the final twist in the scene with the bathing tub is completely sexual and hilariously so.
Valmont is a strange, albeit wickedly dark, comedy of manners. One because of its leaning into verisimilitude creates a film that many will reject. Though if one can accept its sharp edges Valmont becomes an altogether very different adaptation. One that can sit alongside Dangerous Liaisons and Cruel Intentions.
The Transfer
The all-new HD Master – From a 2K Scan of the 35mm Interpositive is a wonderfully astute representation of the lush low-light widescreen photography. The image is clear with wonderful subtle contrast levels and black detail – which thankfully doesn’t crush the blacks in any way. Again, Kino has pushed the limitations of what’s possible with a Blu-ray transfer. One will be shocked at how great it looks especially those who have loved this film and seen the previous iterations of the film on home video. The only way that the film could look even more strikingly cinematic is if Kino were to release a 4K disc. Bravo to the label for taking the time and care with the film it deserves.
The Extras
They include the following;
Brand New HD Master – From a 2K Scan of the 35mm Interpositive
NEW Audio Commentary by Film Historian/Filmmaker Daniel Kremer
The Art of Seduction: Director Miloš Forman on Valmont – Recorded May 1, 2000 in New York City (14:57)
Theatrical Trailer
The all-new Audio Commentary by Film Historian/Filmmaker Daniel Kremer begins with how overlooked the film is in the illustrious career of Miloš Forman, as well as the release of Dangerous Liaisons the year before. Some of the other details include his preference for this film over Dangerous Liaisons; a discussion of the original novel the film is based on; the wide ranging adaptations that have been done – ballet, musicals, theater, paintings, radio plays, movies, TV series, and more; the Hampton adaptation both stage and screen; Forman’s previous effort, Amadeus – and a larger discussion of the various cast and crew that made both; a larger discussion about Valmont compared to the various film adaptations that have been made by Roger Vadim (twice no less), Stephen Frears, Roger Kimble; the way that two filmed adaptation of the source material during within basically the same year came to be – including sourced stories by Hampton and Forman accounting for the reasons why this occurred; Roger Ebert’s thoughts on both adaptations and which he prefers; the work of Colin Firth in the film; the visual style of the film – which leads to a discussion of cinematographer Miroslav Ondříček; how the Frears and Forman filmed in the same locations in Prague; the budgetary differences of the competing films; this adaptation done by screenwriter Jean-Claude Carriere – how they approached the work of adapting the novel; the fact that Alan Rickman was the first Valmont in the Hampton adaptation – which Frears cast John Malkovich instead and Rickman went onto star in Die Hard; the casting of Fairuza Balk – and that her casting was more accurate to the novel; a discussion of the career and films of Miloš Forman – which is a discussion of the themes that Forman works in and the focus the director had during his English Language years; a discussion of the casting and career of Annette Benning; a larger discussion of the differences from the source material and this adaptation; the various cast and crew that made the film – along with a discussion of their work here and elsewhere; and much more. Kremer brings his well-researched and informative style to this underseen gem of a film.
The Art of Seduction: Director Miloš Forman on Valmont (14:57) – the archival interview (Recorded May 1, 2000, in New York City) is a great discussion on the making of Valmont. Forman opens with what makes up a filmmaker’s style and the dangers of analyzing oneself and movies. Forman discusses how the saving of Fireman’s Ball by Claude Berri, Louis Malle, and Francois Truffaut helped his career as it was censored in his native Czech; his first English language film, and while he never moved to Los Angeles; his becoming a US Citizen; his troubles as a filmmaker being of non-English Language; how he heard of the novel from fellow filmmaker and his teacher Milan Kundera during his time in Film school; seeing the Christopher Hampton play and how similar it was to the book; Forman and screenwriter Jean-Claude Carriere’s approach to their adaptation because of the novel is a series of letters; how he and Carriere worked together on the screenplay; the evolution of technology – discussing the advent of digital streaming and theatrical exhibition and its deadening perfection; and much more. Forman was always a great insightful interview subject and here is no different. Note this interview was excerpted from Life as It Is: Miloš Forman on Miloš Forman.
Rounding out the special features are trailers for Valmont (2:01); Man on the Moon (2:35); Tinker Tailor Soldier Spy (2:01); Masquerade (1:25); Les Liaisons Dangereuses (3:57)
The Final Thought
Though most know Cruel Intentions or Dangerous Liaisons, Kino has created an excellent edition that will introduce those unaware of Valmont to its specific charms. Recommended.
Before he became every thinking woman’s heartthrob as Mr. Darcy, Colin Firth was the irascible uncontainable Valmont. The Miloš Forman film gets an upgraded Blu-ray edition with special features and a new 2K scan.
The Film
Edited for Television.
It’s what I remember most about my first viewing of Miloš Forman’s Valmont. I had just seen Amadeus and the description of the film sounded saucy fun to be of interest to a 13-year-old cineaste. As I began to watch I found what “edited for television” meant. Yes, I was disappointed BUT, was drawn to the familiar storyline of dueling Casanova’s (female and male) and their affairs and destruction of societal elites for fun. It was only later I would find out that Valmont was based on the same source material that Christopher Hampton used for his stage play and eventual movie Dangerous Liaisons.
The Stephen Frears film adaptation is a more “socially acceptable” version of the story with 20-somethings Uma Thurman and Keanu Reeves playing teens who factor heavily in the games Valmont and Marquise Merteuil are engaged in. Forman’s Valmont cast literal teens (Fauriza Balk and Henry Thomas, respectively) which reframes the story for the film. Where Dangerous Liaisons is “devilish” fun, Valmont shows us the abhorrent and gross way elite society, even then, trading beauty as “fresh meat” to the wolves. Forman’s film hides the contempt but barely as we see these “people” for what they are as soon as we see these innocent children used and abused as flesh pawns for their baser instincts and climbing social ladders.
Valmont like Amadeus is a sumptuous affair that never strays too far from the gutter and ick of the era and time. Foreman and cinematographer Miroslav Ondříček use low-light photography that would make John Alcott proud (and jealous). There is a beauty that feels natural and lived in. Oftentimes films of this ilk and genre favor the “perfume commercial” route that creates that bodice ripper novel cover visuals that can be almost a parody of itself. Valmont never goes into that parody, rather feels and looks as though the stank of rot and bile Is always just around the corner.
Colin Firth and Annette Benning may be the equal if not better of every iteration of Valmont and Marquise Merteuil. It’s because of the truly evil and insipid way they suck the marrow out of anything or anyone they come in contact with. The unapologetic way the film allows them, without judgment, to be truly awful and thus period-appropriate is thrilling and horrifying in equal measure. Firth keeps the British charm on full. So much so one does not even notice the ridiculous Florida-style Joe Dirt Mullet, they saddle him with.
However, it is Annette Benning who steals the show as Marquise Merteuil. The excitement and raw rambunctious sexuality she brings to the film is something we would never see again from the actor, much to our loss. Benning never plays it as so on the nose. Her work is not a crass femme fatale but rather a highly intelligent operator and social climber bored and crossed with society. One that wouldn’t mind burning it all down for her own amusements and to see what happens.
The verbal sexual duels between Firth and Benning are the kind of fireworks that many attempt and few succeed at on screen. This is no more apparent than in the final confrontation between Valmont and Marquise Merteuil after he has come to claim his “prize”. Watch how each vies for power and supremacy over the other. There is nothing different in the words and power struggles than a pair of voracious lovers twisting and turning in bed trying to be the one “on top”. Even the final twist in the scene with the bathing tub is completely sexual and hilariously so.
Valmont is a strange, albeit wickedly dark, comedy of manners. One because of its leaning into verisimilitude creates a film that many will reject. Though if one can accept its sharp edges Valmont becomes an altogether very different adaptation. One that can sit alongside Dangerous Liaisons and Cruel Intentions.
The Transfer
The all-new HD Master – From a 2K Scan of the 35mm Interpositive is a wonderfully astute representation of the lush low-light widescreen photography. The image is clear with wonderful subtle contrast levels and black detail – which thankfully doesn’t crush the blacks in any way. Again, Kino has pushed the limitations of what’s possible with a Blu-ray transfer. One will be shocked at how great it looks especially those who have loved this film and seen the previous iterations of the film on home video. The only way that the film could look even more strikingly cinematic is if Kino were to release a 4K disc. Bravo to the label for taking the time and care with the film it deserves.
The Extras
They include the following;
The all-new Audio Commentary by Film Historian/Filmmaker Daniel Kremer begins with how overlooked the film is in the illustrious career of Miloš Forman, as well as the release of Dangerous Liaisons the year before. Some of the other details include his preference for this film over Dangerous Liaisons; a discussion of the original novel the film is based on; the wide ranging adaptations that have been done – ballet, musicals, theater, paintings, radio plays, movies, TV series, and more; the Hampton adaptation both stage and screen; Forman’s previous effort, Amadeus – and a larger discussion of the various cast and crew that made both; a larger discussion about Valmont compared to the various film adaptations that have been made by Roger Vadim (twice no less), Stephen Frears, Roger Kimble; the way that two filmed adaptation of the source material during within basically the same year came to be – including sourced stories by Hampton and Forman accounting for the reasons why this occurred; Roger Ebert’s thoughts on both adaptations and which he prefers; the work of Colin Firth in the film; the visual style of the film – which leads to a discussion of cinematographer Miroslav Ondříček; how the Frears and Forman filmed in the same locations in Prague; the budgetary differences of the competing films; this adaptation done by screenwriter Jean-Claude Carriere – how they approached the work of adapting the novel; the fact that Alan Rickman was the first Valmont in the Hampton adaptation – which Frears cast John Malkovich instead and Rickman went onto star in Die Hard; the casting of Fairuza Balk – and that her casting was more accurate to the novel; a discussion of the career and films of Miloš Forman – which is a discussion of the themes that Forman works in and the focus the director had during his English Language years; a discussion of the casting and career of Annette Benning; a larger discussion of the differences from the source material and this adaptation; the various cast and crew that made the film – along with a discussion of their work here and elsewhere; and much more. Kremer brings his well-researched and informative style to this underseen gem of a film.
The Art of Seduction: Director Miloš Forman on Valmont (14:57) – the archival interview (Recorded May 1, 2000, in New York City) is a great discussion on the making of Valmont. Forman opens with what makes up a filmmaker’s style and the dangers of analyzing oneself and movies. Forman discusses how the saving of Fireman’s Ball by Claude Berri, Louis Malle, and Francois Truffaut helped his career as it was censored in his native Czech; his first English language film, and while he never moved to Los Angeles; his becoming a US Citizen; his troubles as a filmmaker being of non-English Language; how he heard of the novel from fellow filmmaker and his teacher Milan Kundera during his time in Film school; seeing the Christopher Hampton play and how similar it was to the book; Forman and screenwriter Jean-Claude Carriere’s approach to their adaptation because of the novel is a series of letters; how he and Carriere worked together on the screenplay; the evolution of technology – discussing the advent of digital streaming and theatrical exhibition and its deadening perfection; and much more. Forman was always a great insightful interview subject and here is no different. Note this interview was excerpted from Life as It Is: Miloš Forman on Miloš Forman.
Rounding out the special features are trailers for Valmont (2:01); Man on the Moon (2:35); Tinker Tailor Soldier Spy (2:01); Masquerade (1:25); Les Liaisons Dangereuses (3:57)
The Final Thought
Though most know Cruel Intentions or Dangerous Liaisons, Kino has created an excellent edition that will introduce those unaware of Valmont to its specific charms. Recommended.
Kino Lorber’s Blu-Ray edition of Valmont is out now.
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