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.
Cheri (2009)
Tomatometer
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Reviews Counted:30
Fresh:14
Rotten:16
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.
Remember Boyle and MacDonald's names: you'll be hearing them a lot when awards season comes around.
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.
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.
The intense chemistry between Pfeiffer and Friend is what really elevates Cheri above the sum of its slender parts.
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 challenge here is to make a film in which the protagonists frequently say one thing and feel another. It's a film which has to work on two levels, and it does.
It's the kind of refined, delicate acting Pfeiffer does so well, and it's a further reminder of how much we've missed her since she's been away.
Cheri, like the character, is an entertaining bauble without much on its mind.
The movie bogs down by going nowhere other than inside its characters, who are intensely passionate but of an era more curious than emotionally relevant.
In Chéri you see the frailty and the strength, yet you rarely experience either with the depth of feeling you might because of the palpable uneasiness surrounding her performance.
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.
we’re treated to a group of dull-witted doyennes of the oldest profession, languishing on silk cushions, lazily point-scoring and carping.
Michelle Pfeiffer deserved the finest vehicle for her comeback. This is the film-equivalent of a knackered Trabant with four bald tyres and a farting exhaust.
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June 25, 2009:
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