Director Stephen Frears (“Dangerous Liaisons”) and screenwriter Christopher Hampton (“Dangerous Liaisons”) delectably adapt “Cheri” (1920) and “The Last of Chéri” (1926), novels of risqué manners by French writer Colette about a six-year affair between 49-year-old Léa (Michelle Pfeiffer, “Dangerous Liaisons”) and 19-year-old Chéri (Rupert Friend, “The Libertine.”) “My aim is a true mental hermaphroditism,” announced this versatile demimondaine (1873- 1954) whose literary output included a screenplay for Louis Feuillade and another for Max Ophuls. She once played her Lea in a stage version of “Chéri” and later pursued an affair with her 18-year-old stepson. In an admiring diagnosis, psychoanalytical feminist critic Julia Kristeva wrote: “her alphabet of the world is an alphabet of feminine pleasure”; Colette “sought to immerse herself in a singular orgasm with the world’s flesh.” “Chéri” is a sensual ethnography of Belle Epoque courtesans-sybarites as scented class parasites. Cinematographer Darius Khondji and composer Alexandre Desplat prettify this putrefying cul-de-sac of calculating entrepreneurs and epicures. The “courtesy of” credits source the period jewelry, furs, pearls, luggage, linen and pastries to tony au courant outlets. “Chéri” visits a savory life to die for, as the title lover gets his just dessert in an existential coda. With Kathy Bates, Felicity Jones, Frances Tomelty, Anita Pallenberg, Harriet Walter 92m. Anamorphic 2.40 widescreen. (Bill Stamets)
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Director Stephen Frears (“Dangerous Liaisons”) and screenwriter Christopher Hampton (“Dangerous Liaisons”) delectably adapt “Cheri” (1920) and “The Last of Chéri” (1926), novels of risqué manners by French writer Colette about a six-year affair between 49-year-old Léa (Michelle Pfeiffer, “Dangerous Liaisons”) and 19-year-old Chéri (Rupert Friend, “The Libertine.”) “My aim is a true mental hermaphroditism,” announced this versatile demimondaine (1873- 1954) whose literary output included a screenplay for Louis Feuillade and another for Max Ophuls. She once played her Lea in a stage version of “Chéri” and later pursued an affair with her 18-year-old stepson. In an admiring diagnosis, psychoanalytical feminist critic Julia Kristeva wrote: “her alphabet of the world is an alphabet of feminine pleasure”; Colette “sought to immerse herself in a singular orgasm with the world’s flesh.” “Chéri” is a sensual ethnography of Belle Epoque courtesans-sybarites as scented class parasites. Cinematographer Darius Khondji and composer Alexandre Desplat prettify this putrefying cul-de-sac of calculating entrepreneurs and epicures. The “courtesy of” credits source the period jewelry, furs, pearls, luggage, linen and pastries to tony au courant outlets. “Chéri” visits a savory life to die for, as the title lover gets his just dessert in an existential coda. With Kathy Bates, Felicity Jones, Frances Tomelty, Anita Pallenberg, Harriet Walter 92m. Anamorphic 2.40 widescreen. (Bill Stamets)
