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Cheri Looks Good, Falls Flat

Photo of Anne Thompson By Anne Thompson | Thompson on Hollywood June 23, 2009 at 11:20AM

It’s hard to get everything to go right on a movie. Many little things can turn a promising project into something that never quite gels.
Thompson on Hollywood

It’s hard to get everything to go right on a movie. Many little things can turn a promising project into something that never quite gels.

Going in, the French/British/German co-production Cheri–adapted by Christopher Hampton (Dangerous Liaisons) from two Colette novels, directed by Stephen Frears (The Queen) and starring still-lovely 51-year-old actress Michelle Pfeiffer in the starring role of an aging courtesan– must have looked so tempting.

Several factors doomed this project to be a noble failure. While the English-language movie aimed at global audiences has long been a cinema staple, moviegoers now demand a ccertain authenticity. J.J. Abrams (Lost), Mel Gibson (The Last Temptation of Christ, Apocalypto) and Quentin Tarantino (Inglourious Basterds) are right: go local with language and slap on subtitles. At least it’s real.

Place too many people from different countries into one milieu, though, and something starts to go wrong. (Think Cold Mountain or Tetro.) Here, wily American actresses Pfeiffer and Kathy Bates don’t quite match up with a cast of Brits, including the narrator (Frears) and the jejune title character, played by Rupert Friend. (He’s almost too pretty and fey.)

Top European craftspeople delivered exquisite work on Cheri–the sets and costumes are perfection. But the look and Alexandre Desplat’s elegant score, while the Frenchiest thing about the movie, aren't enough to tip the scales.

Even back in 1958 the MGM classic Gigi, while patently stylized and shot on a studio back lot, deployed French actors Maurice Chevalier and Louis Jourdan and singer/dancer Leslie Caron to sell the audience. It worked. Would such a fake confection work today?

Perhaps not.

Everyone knew the rules then. Nowadays, the lines keep moving and shifting between docu-reality and drama, super-fantasy and romantic intimacy. Each director has to somehow intuit where the lines are drawn on what audiences will and will not accept.

This article is related to: Reviews, Genres, Period

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Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.