Screenwriter Rachel Bennette adapts the cynical 1885 novel by Guy de Maupassant that relates the social ascent of Georges Duroy, a nouveau Parisian. “Bel Ami, History of a Scoundrel,” as one translation subtitles this novel of arriviste manners, observes an opportunist with no prospects’ rise to prominence in three years. Coming from the British stage, co-directors Declan Donnellan and Nick Ormerod set this period drama in 1890 (1880 in the novel) and cast Robert Pattinson as the twenty-four-year-old Duroy who women of many ages call “Bel-Ami,” a pet name made from “Bel-Homme” (“Handsome”) and “Bon-Ami” (“Lover boy”). This looker “recalled the hero of the popular romances,” wrote Maupassant. (Harry Reems played the part in a ribald 1976 screen adaptation, one of a half dozen.) Duroy runs into a military pal from Algeria who is now the political editor of an influential newspaper, who tells him what knife to use at table. He is also told: “Even the whores are getting rich” and “The most important people are not the men but their wives.” Duroy finds work as a journalist whose words come from his boss’ wife, who will later become his own after she is widowed by tuberculosis. Many affairs and machinations later, including a toppled government and investments in copper mines in Morocco, he will divorce her and marry the daughter of the boss of his late boss. “Bel Ami” entertains as a costumer with bodices and betrayal. Duroy’s tactical bedding almost adds up to a feminist attack on class, but “Bel Ami” feels too much pity for this boy-toy morally abused by his betters. With Uma Thurman, Kristin Scott Thomas, Christina Ricci, Colm Meaney. 102m. (Bill Stamets)
“Bel Ami” opens Friday at Landmark Century.
Ray Pride is Newcity’s film critic and a contributing editor to Filmmaker magazine.
His multimedia history of Chicago “Ghost Signs” will be published soon. Previews of the project are on Twitter and on Instagram as Ghost Signs Chicago. More photography on Instagram.