Annette Bening in Valmont (1989)
Milos Forman's Adaptation of Choderlos De Laclos' Dangerous Liaisons
Dec 7, 2008
Similar to the film's portrayal of Valmont and Madame Tourvel, the relationship between the Marquise de Merteuil and Valmont is significantly altered from Laclos' novel. It is reduced from a sinister sexual rivalry between two almost equally duplicitous characters to what Karen Holinger terms, 'mutual attraction and adolescent game playing.' (p.6)
Like Valmont's seduction of Tourvel, the stakes are lowered, and what is presented in the novel as a sinister wager in which Valmont is challenged to ruin the reputation of an innocent woman, is turned into more of a game in which Merteuil – half jokingly - throws in the condition that Valmont must become a monk should he lose.
The Marquise de Merteuil
Annette Bening's portrayal of the Marquise de Merteuil lacks the incredible psychological depth of Laclos novel, in which her motivations extend beyond her desire for revenge on ex lover Gercout, to a what could be described as personal crusade against the male dominance of society. Forman leaves out two key episodes from the novel crucial to Laclos characterization of Merteuil.
Most importantly is letter 81, in which she illustrates her self-taught principles and the double standard which governs the conduct of woman in society. she states that for men 'defeat is only one less victory.... ' and a for a woman to successfully ruin a mans reputation is a far greater achievement given that it is an 'unequal contest we are lucky not to lose' (179).
The character of Gercout in the film, who only briefly appears in the novel, detracts from the Laclos' portrayal of the Marquise as 'an example of emancipated womanhood' (Constantine, p.xviii). It portrays her as possessed by a single minded desire for revenge rather than as a woman who is out combat the oppression and victimization of woman in society.
Although she does state to Valmont in the film that she never wants a man to have rights over her, this idea is not at all emphasized, and interestingly the Marquis comes across as a woman who seems to posses a genuine affection for Cecile before she learns that Gercout intends to marry her.
This creates a certain superficiality to her in comparison with the many dimensions of Laclos' Madame de Merteuil. It makes her out to be more of a jealous teenager than a cold and calculating master of deceit. Similar to Madame Tourvel, Merteuil rejects and victimizes Valmont towards the end of the film, but unlike the novel where the death of Valmont instigates Merteuil's dramatic downfall, she is relatively unscathed at the films ending.
Her punishment is reduced to isolation and an impending sense of redundancy as the younger generation represented by Danceny and Cecile stand poised to rise and usurp the roles of Valmont and herself.
Cecile
The character of Cecile in the film does in many ways retain the innocence and naivety of the novel, but the social points raised by Laclos about the nature of convent education, and the way in which young woman are oppressed by their elders is much more obscure.
Laclos illustrates the way in which Cecile's ignorance regarding the outside world, and he mothers refusal to share any knowledge from her own life experience with her daughter, renders he completely defenseless against Valmont and Merteuil's manipulations. Ironically madame Volanges' belief that a sheltered up bringing will ensure Cecile's chastity, is exactly the thing which leads to her downfall as in desperation she is forced to turn to Madame Merteiul for advice in letter 27.
Cecile becomes easy prey for Merteuil and Valmont, and Laclos is illustrating the effects of such a profoundly oppressive institution like the convent upon young woman like Cecile. However in contrast, the beginning of Forman's film depicts the convent as more like a pleasant boarding school than a place of confinement and oppression, and Cecile's ruthless entrapment and rape by Valmont is reduced to a willing seduction. It completely avoids the brutal element of the novel.
Rather than a victim, Cecile is a character who is actually quite happy to conform to the immoral code of behavior being preached by Valmont and Merteuil. She shows a certain degree of natural duplicity throughout the film.
Danceny and Cecile
In the novel both Cecile and Danceny are so appalled by their involvement in the schemes of Valmont and Merteuil that they do everything possible to morally redeem themselves. However in the film, their is no disruption of the immoral practices of the older generation, and society seems poised to repeat itself once again.
This is not only through Cecile and Danceny but also through Valmont's unborn child. Rather than the pawns which they are in the novel, Danceny and Cecile undergo more of a right of passage in the film, and gradually begin to marginalize Valmont and Merteuil.
Conclusion
Forman's alteration of the characters and their relationships are clearly calculated to free the film viewer from the complex social issues which are presented to the reader of Laclos' text. Rather than challenging the spectator to think, the film sets out more to simply entertain. Many critics accuse Forman's adaptation of being a failure, as though it is somehow essential for the story to retain its critical reflections on a superficial and immoral society.
However the film does achieves exactly what it sets out to do. It is entertaining, light hearted and successfully transposes much of the novels darker aspects into comical elements which work quite well. The film viewer can sit back and enjoy the story without having to comprehend any deeper meanings, which clearly attracts criticism, but ultimately opens the story up to a much broader demographic.
Sources
- Dangerous Liaisons, Choderlos De Laclos, Penguin Classics, 2007
- Valmont, Rita Kempley, Washington Post, 1990
- Karen Hollinger, Losing the Feminist Drift: Adaptations of Dangerous Liaisons, 1996
