Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Mandeep Tyson The acting in this movie is really good.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Martin Bradley Albert Lewin's reputation rests almost entirely on two films, "The Picture of Dorian Gray" and "Pandora and the Flying Dutchman" but his masterpiece must surely be the little known and little seen "The Private Affairs of Bel Ami" from the novel by Guy De Maupassant. It is, of course, a very witty portrait of a cad, beautifully played by George Sanders, but it is also a film of considerable psychological depth and one of the most adult and intelligent American pictures of the forties with not a trace of the camp usually associated with the director.Rather we get an incisive picture of a period and that rarefied milieu of high Parisian society, beautifully written by Lewin and superbly played by everyone. In particular Angela Lansbury is outstanding as the one woman Sanders might actually have feelings for. It's a great performance that should have made Lansbury a major Hollywood player rather than simply the great character actress she became. Even the usually wooden Warren William excels here. If any film cries out for a restoration it is this one.

MartinHafer In 1956, George Sanders made one of his best films, "Death of a Scoundrel". I mention this because in many ways, "The Private Affairs of Bel Ami" is very similar--though not quite as satisfying and amoral. Both stories star Sanders and both feature him as a schemer--a man who uses people (especially women) and casts them aside when it suits his best interests--and his main interests are power and money.When the film begins, Sanders is almost broke and with a low-paying job. However, when an old friend (John Carradine) meets him in a café, he offers to help him get a job on his newspaper--a chance for more money and to meet the right people. And, slowly, Sanders begins to work his way upwards--mostly by marrying or wooing the right women. The most fascinating was when his friend died--and just seconds later, he proposes to the widow! And, to make it worse, the body is lying next to them! This sort of thing and much more make up the rest of the film--an entertaining soap opera throughout. My only reservation is that the latter film is just a lot better--with less slow moments and a character who is even more unlikable and scheming! By the way, a scene to look for is when they unveil 'The Temptation of St. Anthony'. The painting is in full color within a black & white film--like the picture in "The Portrait of Dorian Gray". Because of this, it's VERY striking--especially with its very intense reds. This an other versions of this scene (it was a popular theme during the Renaissance) are very disturbing to see for the average person--but also very compelling and emotive.

secondtake The Private Affairs of Bel Ami (1947)The weary diffidence of George Sanders makes this movie what it is, but there is a rather large cast of important characters who hold up their types, too. Only Sanders in the lead role (as the Bel Ami) has full roundness to his character. Look, however, for John Carradine and Elsa Lancaster, both welcome and convincing, though they only appear sporadically. Ann Dvorak takes on the second most important role and she's terrific, cast perfectly and acting with cunning.The story is a period piece, set in late 19th century France. It centers really around one idea--Sanders, who is portraying a real lady's man, gets several women interested in him (or he in them) with somewhat suspicious goals (like money) under his hat. The first half of the movie has these women at odds with each other and Sanders playing his hand just so. Then he lands one of them and a different kind of ambition takes over his life, with some tricks to become yet wealthier. And the movie shifts. It gets fairly complex, based on a French novel by Guy de Maupassant. It has enormous potential, and yet it never quite gels. You can imagine a "Magnificent Ambersons" kind of construction to make it work, but that would require more length. And Orson Welles.The writing is naturally amazing at times. The characters, as much as they get developed, are intelligent and say intelligent things. There are two aspects that plague this version. First is Sanders himself. He's one of my favorite actors of this era, but he has a limited kind of style and he's miscast here, lacking the charm and fast wit you would need to pull off all these machinations, some romantic and some political. Second is the way the story is told, cramming the pieces together, jumping from one moment into the future as if there wasn't time to mention that so and so meanwhile died, or that our main man in fact got married. Sometimes this kind of economy makes for a fast movie, but here it feels too harshly edited.And then there is the slight falseness to the filming, all done in studios, with hints of the city in the background, beautiful but unconvincing light, and sound that is dubbed or added and is sometimes painfully wrong (Sanders whistling without moving his lips, Carradine playing a complicated accordion piece on an instrument without keys, footsteps on a stone walk that sound like a wooden stage, a singer who...you get the idea). The director, Albert Lewin, had a thriving career writing for silent movies (there is an irony in that, I suppose), then he became a producer in the 1930s before switching to directing just a half dozen films in the 1940s. Only one of these has a reputation--The Picture of Dorian Gray--with this one a kind of runner-up. But whatever its promise, it struggles to take off as either a romantic heart-tugger or a social high drama.Small tidbit--Uma Thurman and others are filming a remake of this story, and naturally all the womanizing has taken on a sexual quality, from what I can see. That's a strength with the way Lewin shot and edited this early one, because we get the way the leading man is a selfish cad without having to get distracted into the prurient details that would distract, even further, from the larger plot.

bkoganbing The Private Affairs of Bel Ami gave George Sanders to play a leading role as Guy de Maupassant's gentleman cad who rises in Parisian society over the bodies of a number of seduced and abandoned women. Sanders is a former dragoon who uses his charm to acquire money and power and in the end a title of minor nobility in Third Republic France. The one woman whom he truly loves, Angela Lansbury, is forever lost to him. Would she have brought him real happiness? It's for the audience to judge.The comparisons between Bel Ami and Sanders's Oscar winning Addison DeWitt have to be made. Both men are cynics about human nature, but whereas theater critic DeWitt is an observer and a behind the scenes manipulator of others, Bel Ami is doing it all for his own advancement. Both performances have that touch of cad about them and they rank as some of the best work George Sanders did.Look for good performances from John Carradine as Sanders's only true male friend and Angela Lansbury who he loves, but who can't give him the social standing he needs.Also of course look for Warren William in his farewell role as Sanders's main antagonist. A not very brave, but a fairly shrewd sort, Sanders regularly bests him until the very end.The Private Affairs of Bel Ami was a rather daring film for Code run Hollywood, it doesn't surprise me it was an independent movie, released by United Artists.Fans of The Eternal Cad George Sanders will eat it up.