Movie review: “Cheri”
From Wednesday’s Life section of The Oklahoman. 2 1/2 of 4 stars, with special praise for the talented and still-gorgeous Michelle Pfeiffer.
Film’s promise unfulfilled
High level of melodrama detracts from potential of “Cheri”
With a compelling performance from the radiant Michelle Pfeiffer, gorgeous period costumes, sets and cinematography, and potent chemistry between Pfeiffer and co-star Rupert Friend, “Cheri” seems to have all the ingredients for a steamy, if light-weight, romantic drama.
But the soufflé falls flat, as “Cheri” collapses under the weight of too much melodrama and not enough real, substantial drama.
It’s a shame, since the film reunites director Stephen Frears, screenwriter Christopher Hampton and Pfeiffer of 1988’s delicious, Oscar-winning “Dangerous Liaisons.” “Cheri” also explores sex, love and scheming in period France – though in a different time period – but isn’t nearly as sharp or memorable as their previous collaboration.
Set at the turn of the 20th century in France, when the upper classes enjoyed a golden age before World War I, “Cheri” delves into a world of elegant, high-dollar courtesans, AKA prostitutes. These powerful women deftly manipulate rich and influential men, and exit affairs with kings, prime ministers and industrialists with enough cash and gifts to enjoy their own lavish lifestyles.
One of the savviest and most beautiful of these courtesans, Léa De Lonval (Pfeiffer), 49, has just disentangled herself from a lucrative affair and is contemplating retirement. She has accumulated considerable affluence by avoiding love and using sex as just a money-making tool.
Still, she has certain duties to attend in her narrow circle of friends, which includes the crafty, backbiting retired courtesan Charlotte Peloux (Kathy Bates, sometimes irritating in the role).
Charlotte invites Lea to lunch and asks for help in dealing with her neglected but spoiled 19-year-old son Fred (Friend), whom Lea long ago christened Cheri. The idle Cheri seems interested only in debauchery and Charlotte fears for his future.
Cheri has always adored Lea, whom he as a boy nicknamed Noo Noon. But when he coaxes Lea into a kiss, passion sparks between them.
Six years later, their fiery May-December affair is still going strong. But their contented relationship comes to an abrupt end when Charlotte announces she has arranged a marriage for Cheri. Edmee (Felicity Jones), 18, the often-ignored daughter of another courtesan, will bring to the union more wealth and the promise of grandchildren for Charlotte.
In keeping with the courtesan code, Lea and Cheri are determined to walk away from their affair with cool indifference. But they soon realize they can’t live without each other because they’ve fallen in love.
The rest of the film focuses on their tortured pining for one another. The melodrama bubbles to a soap operatic boil as Frears makes the audience wonder if Lea and Cheri will give up the charade and resume their romance or stick with their unhappy lots.
Though his chemistry with Pfeiffer crackles, Friend never makes Cheri a character you can care for or about. Frears’ dependence on his own grating narration also keeps the viewer removed from the drama.
Pfeiffer shines in her understated turn as a beauty dealing with growing older. The film is based on French novelist Colette’s 1920s novels “Cheri” and “The Last of Cheri,” and it’s a shame that the themes about women and aging are still relevant, particularly when Hollywood routinely pairs action heroes with starlets 30 years their junior.
- BAM
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