One of two filmed adaptations of “Les Liaisons Dangereuses” that turned up in the late ‘80s, Milos Forman’s lusciously staged companion piece to his 1984 triumph “Amadeus” had the misfortune to follow the more commercially popular “Dangerous Liasions.”
While “Dangerous Liasons” – with its star driven cast of Glenn Close, Michelle Pfeiffer and John Malkovich – earned three Oscars and performed well at the box-office, “Valmont” fell prey to lower grosses and generally less acclaim several months later. Years later, though, I think “Valmont” is the stronger film – even more impressive visually (with most of Forman’s “Amadeus” production team having worked on the picture), possessing more of a playful and humorous air than “Liasions.” The characters are certainly more appealing, with Colin Firth infusing far more sympathy than Malkovich as the title playboy who schemes with the devious Madame de Merteuil (Annette Bening) into seducing the married Madame de Tourvel (Meg Tilly, who Forman cast as Mozart’s wife in “Amadeus” before she injured her leg right before filming began).
Forman’s film employs a far lighter touch compared to the acidic tone Stephen Fears instilled in “Liasions” and is enhanced by marvelous supporting cast, from a young Fairuza Balk and Henry Thomas to Sian Phillips and “Amadeus”’ Jeffrey Jones. Miroslav Ondricek’s sumptuous cinematography further brings the period alive, punctuated by more classical performances from Sir Neville Marriner. This a subtler, more refined take on the material but one that makes for a highly underrated film worthy of rediscovery in high definition.
Kino Lorber’s long-in-the-works Blu-Ray is finally now available. The label had announced a release years back but had to scuttle their initial plans when Pathe’s outstanding 4K restoration (released in France) proved too costly to license. Kino’s efforts have resulted in a new HD master derived from a 2K scan of the 35mm interpositive (2.35, 2.0 DTS MA stereo) that’s not quite on the level of the Pathe presentation but should still satisfy domestic fans of the movie. On the supplemental end, Daniel Kremer’s commentary is filled with insight into the production – including Forman’s own efforts to bring "Liasion" author Christopher Hampton’s play to the screen before seeming miscommunication resulted in Forman going off to make his own film – while the trailer and a welcome archival interview with the director detailing his take on the material.