Cheri

Chéri is period France as the English love it, and the Americans act it. In other words, it’s an entertaining but somewhat Anglicised take on European mores. But it’s churlish to quibble when director Stephen Frears, writer Christopher Hampton and Michelle Pfeiffer already have the runs on the board with their successful collaboration on Dangerous Liaisons (1988).

Thanks to their combined efforts, Chéri is practically painted on the screen in an impressionist blend of country drives, grand houses, une grande dame, meaningful glances, witty interludes, multiple entendres and sinful delights. In addition to the solid direction, the wry writing brings to mind the entertaining qualities Hampton brought to Atonement (for which he won a 2007 Oscar nomination). It’s restrained, yet a touch ribald.

The screenplay certainly had colourful source material, in the novels "Chéri" and "La Fin de Chéri" by early 20^th century actress and author, Collette. Best known now for her novel Gigi, Collette was perhaps better known at the time for an onstage kiss with her lover Mathilda that nearly caused a riot. "Chéri" itself was surely somewhat scandalous, with the aging courtesan, Lea, teaching the pampered young man, Chéri, a thing or two about the peaks and troughs of love during their six year relationship. When Chéri’s mother decides it’s time for her son to marry, his love for Lea becomes the epicentre of his plans for the future.

The performances add a great deal to the narrative's somewhat leisurely pace as the characters take unexpected paths. The luminous Michelle Pfeiffer is almost a female Lothario, while Rupert Friend makes a wonderfully malleable Chéri. The characteristically no-nonsense Kathy Bates might seem a little out of place as his frustrated mother, and there’s a lot of wistful lying about in bed, but Chéri is still a refreshing take on an old theme.

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