A disappointing script lets down the film despite its lavish costuming and consummate cast.
Cheri (2009)
Tomatometer
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Reviews Counted:116
Fresh:63
Rotten:53
Average Rating:5.7/10
Consensus: A too-short script and a romance lacking in heat detracts from an otherwise haughty charmer.
Australian Theatrical Release:
Jul 23, 2009 Wide
US Box Office: $2,643,292
Synopsis: Stephen Frears, director of THE QUEEN and HIGH FIDELITY, continues to demonstrate his genre-defying talent with this adaptation of a Colette novel. Set in Paris in the years before World War I,... Stephen Frears, director of THE QUEEN and HIGH FIDELITY, continues to demonstrate his genre-defying talent with this adaptation of a Colette novel. Set in Paris in the years before World War I, CHERI paints a picture of the romance between young Chéri (Rupert Friend) and retired courtesan Léa (Michelle Pfeiffer). Chéri’s mother (Kathy Bates), a rival of Léa, plots to separate the pair by arranging a marriage between her son and Edmée (Felicity Jones). Screenwriter Christopher Hampton previously collaborated with the director on DANGEROUS LIAISONS. [More]
Starring: Michelle Pfeiffer, Kathy Bates, Rupert Friend, Felicity Jones
Starring: Michelle Pfeiffer, Kathy Bates, Rupert Friend, Felicity Jones, Frances Tomelty
Director: Stephen Frears
Director: Stephen Frears
Screenwriter: Christopher Hampton
Producer: Bill Kenwright, Andras Hamori, Tracey Seaward, Thom Mount
Composer: Alexandre Desplat
Studio: Miramax Films
Reviews for Cheri
Sadly the few good elements of Cheri only serve to highlight the films considerable inadequacies, and the only bedroom-based action it will inspire is a comforting nap, possibly before the end of the film.
The film is a comedy of manners with a powerful undercurrent of tragedy. Cheri is funny, sad and charming, and the ending may shock you.
While it's not likely to be as admired as much as his Dangerous Liaisons, Frears - who is heard as the narrator - has given audiences an elegant treat that's easy to escape into, and there are skilful performances by the entire ensemble.
Stretching out like a cat on the wide screen, Michelle Pfeiffer shows off her durable glamour in the star role of Lea de Lonval, a high-class courtesan in pre-World War I France.
The intense chemistry between Pfeiffer and Friend is what really elevates Cheri above the sum of its slender parts.
At the centre of this film is the luminous Pfeiffer who knows only too well the ravages of time in an industry where youth and beauty are so valued.
Remember Boyle and MacDonald's names: you'll be hearing them a lot when awards season comes around.
Only a fine performance from Pfeiffer and a couple of decent lines from Bates made it bearable.
Pfieffer brings a real sense of vulnerability to proceedings, but Chéri is too passive a character and Friend simply isn't able to generate enough on-screen chemistry with her to make this work.
Intrusive narration from Frears doesn’t help and the fact that Cheri is such a drip makes the all-consuming nature of the romance hard to swallow. The film just can’t match the elegance and wit that come so effortlessly to Pfeiffer.
The chemistry-free and inexplicable romantic relationship between the two lead characters causes a ripple effect that dooms the entire movie.
This glimpse into a decadent era has its charms, but they’re mostly visual. While Pfeiffer and Friend perform well, the script is tonally confused and lacks edge.
Michelle Pfeiffer is quite good, but the script leaves Kathy Bates -- talented as she is -- with a bit of a cartoonish performance.
Chéri should have swept the audience off their feet and carried them to the bedroom... but instead teases them with a whiff of perfume and a flirtatious wink.
Scene after scene unfolds, with colourful costumes, attractive sets, knowing glances and innuendo, but also a feeling that this is a pedestrian read-through of a stage play.
By the end, it almost seems as if Frears has wearied of the tale, bringing in the narrator to dispatch Chéri to his fate (an unhappy one) in a few well-modulated sentences.
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