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.
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
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.
A disappointing script lets down the film despite its lavish costuming and consummate cast.
The intense chemistry between Pfeiffer and Friend is what really elevates Cheri above the sum of its slender parts.
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.
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 film is a comedy of manners with a powerful undercurrent of tragedy. Cheri is funny, sad and charming, and the ending may shock you.
Remember Boyle and MacDonald's names: you'll be hearing them a lot when awards season comes around.
If I conclude that the film is ultimately a touch on the trivial side, I do not believe that I am accusing it of anything that the filmmakers didn't intend it to be.
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.
Frears revels in the painted silks and hothouse flowers of the era ... Friend often seems carved from alabaster... Pfeiffer is ... [t]rue to Colette's vision ... alternately steely and pliable, willing to bend yet unable to break.
Michelle Pfeiffer is quite good, but the script leaves Kathy Bates -- talented as she is -- with a bit of a cartoonish performance.
Chéri is far from dull, thanks in particular to Pfeiffer’s languorously nuanced performance as a striking beauty whose dalliance with a boy first flatters her, then makes her feel her age and the emptiness of her fiercely independent life.
Modestly engaging story is enriched by delicious acting to become a good adult alternative to Transformers and Hogwarts this summer.
If the movie were better -- less swoony, more relentless -- it might be unbearable to watch. As it is, Cheri touches on the insecure egotism of courtesans and movie stars with a knowing firmness.
It is all beautifully costumed and set --items that should not be taken for granted.
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