Rijndri Load of rubbish!!

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

Kayden This is a dark and sometimes deeply uncomfortable drama

SixtusXLIV This is one of the movies (not many) where the remake "Dangerous Liaisons" of Stephen Frears wins by a large margin.First of all those movie had one Great Actress in Jeanne Moreau. Bur ir as an incompetent Director in Roger VAdim and some miscasts like Gérard Philippe as Valmont. Perhaps the main culprit is "Roger Vailland". I'm am very fond of "Vailland",love is novels (namely "Drôle de Jeu", but I've read them when I was too young. Nowadays I believe that is is the wrong kind of scriptwriter. Also Roger Vadim did not care for literature. Ask Brigite Bardot. This is a semi-failure. See it only id you are a fan of Jeanne Moreau. There is more eroticism in "Journal d'une Femme de Chambre" by Luis Buñuel than here, about "boudain". "morcilla" or just plain English "sausage". The Anglo-Saxons cannot make sausages and the current laws forbid to to it properly..

netwallah One of the best films about heartlessness I've ever seen, largely because of the fine work of Jeanne Moreau as Juliette and Gérard Philipe as Valmont. Setting most of the action at a ski resort is especially brilliant because it's at once full of glamour and quite enclosed. For a while the film seems to be a sort of sex comedy, especially with the seduction of the young cousin Cecile (Jeanne Valérie), who is in love with fellow student Danceny (Jean-Louis Trintignant) and engaged to a dull fellow chosen by her family. Cecile is very comely, and the post-seduction scene when she lies nude on her stomach doing her geometry homework and Valmont rests the textbook on her bum—it's sweet and amusing. It turns sour when Juliette steals Danceny and forces Valmont to abandon the virtuous Marianne (Annette Vadim) with whom he's actually fallen in love. Moreau is strong and beautiful and twisted, a tour-de-force acting job. At last, an angry Danceny strikes despairing but still glamorous Valmont, who falls and hits his head on an andiron and dies. Juliette accidentally sets her clothing on fire trying to burn their awful letters. Marianne goes mad when she learns of Valmont's death, and with a trance-like smile talks softly about the imaginary home they might have had together. The photography is really fine, and the best additional thing is the wonderful music by Thelonius Monk and Art Blakey's Jazz Messengers. It's even better than I'd remembered it from many years ago.

Maurizio Von Trapp Les Liasions Dangeureses is one of the best books ever written - very rococo, very stylish, and very evil but a kind of evil that you have to love. It is surprising even for me to say that the American version of this film beats this horrible French version. The film starts with the director obnoxiously explaining the plot and the characters are continuously explaining themselves. This story is all about secrecy, style and good manners. The film replaces all the good stuff with characters that say out loud all the facts the viewer should be obliged to ponder on. I saw this film with two other fans of Viscont de Valmont and Marqueis de Merteuil (I don't know if that's how you write it) and by the time the film had hit the first half an hour our faces were all alike - disillusioned and disgusted.

dbdumonteil Among all Vadim's duds,"les liaisons dangereuses " seems to have stood the test of time better than the other "works" of the director.The reason is to be found in the cast.Gérard Philipe -though largely overshadowed by John Malkovich in Frears's version -and mainly Jeanne Moreau are earnest thespians and you cannot be wrong with them.And Roger Vailland and Claude Brulé had a good idea for the conclusion:fire instead of smallpox allows us to hear Laclos's immortal line "She's wearing her soul on her face!"Objections to this early version -to be followed by half a dozen of them- remain:that the story should have been transferred to the sixties is eminently questionable:La Merteuil was a definitely modern original character in Choderlos de Laclos's times ;in 1960,such a woman's behavior had become banal.Vadim would do worse when he would transfer Zola's "la curée" to his era.Proof positive that all that glittered in the nouvelle vague was not gold.