Research for EARNEST - Dangerous Liaisons (1988)

Directed by Stephen Frears, the 1988 movie adaptation of the book by Pierre Choderlos de Laclos, Dangerous Liaisons is about rivalry, jealousy and using the people's romantic feelings to your own gain. It's more serious then The Importance of Being Earnest, but it's a very famous adoption and I think that not analyzing it would be a mistake. So, it's my next movie.

It won 9 awards in total, including the BAFTA award for Best Adapted Screenplay and the Academy Award for best Costume Design.
Dangerous Liaisons is set in pre-Revoultion Paris, and the story revolves around Vicomte de Valmont and the Marquise de Merteuil as they seduce various other members of high society for their own gain. In the end, they all get their comeuppance, Valmont dies in a duel and Merteuil is forced to flee the city in shame.

This movie is aimed at an older, more mature audience, as there are some scenes not suitable for a young audience. Also, I don't think a young audience would really enjoy it, as most of the 'action' is dialogue, or sex. The audience expectations for this film would be to go see something catty and scandalous, which is exactly what they get. There isn't much to say about how other social groups are presented in this movie - it focuses heavily on upper class people of pre-Revoultionary France and their decadent, destructive lives. The few servants who have actual roles to play in the movie are equally as untreatable and self interested.

Types of Shots

Close up

- The first real shot of the movie is a close up of a letter, held by two jeweled hands. When this is coupled with the intense music in the background, an overall dramatic effect is achieved, setting the tone for the rest of the movie. The actors names are also super imposed over the images, so anyone who is watching because they're a fan of a certain actor, is instantly satisfied. 

- Not showing Valmont's face for as long as possible is a nice cinematic trick to keep the audience interested. It adds an air to mystery to his character and makes for a very dramatic reveal when we do eventually see his smirking face.

Long Shot

- To further emphasis how rich Valmont is, a long shot of his room and all his servants is used. It's also handy for showing off the costumes of the characters, which have clearly had a lot of work put into them. 

Over the Should Shot

- This is a story about vain people, so it's only justified that the first appearance of any of the characters shows off their vanity. Merteuil is seen admiring her own reflection and practicing smiling. The over the shoulder shot makes it feel like we're infringing on her, or spying, which ties in nicely with the themes of the story.

- Valmont's face is kept hidden for as long as possible, and several over the shoulder shots are used to help. 

Camera Movement 

Tilt

- As a pure character, Cecile is physically elevated above Valmont, who lives his life in sin. Ironically however, she is on the same level as Merteuil, who pretends to be her friend so she can work towards her downfall. 

Track

- The camera follows Valmont's carriage to show off the location and the luxuriance of his carriage. It also includes the audience in the travel, making them feel like they're really in the story. 

Framing

Framing 

- Merteuil's whole world revolves around her, and her alone, and this is clearly illustrated in how her home constantly frames her, be it in doorways or mirrors. 

Editing 

Visual Effects

- A nice nod to the costume designer and head of photography is to superimpose their names in the credits over shots that involve their work.

Zoom

- This is a sensual movie about seducing people, and the opening sequence puts a lot of emphasis on this  from the very beginning with provocative close ups.

Parallel Shot 

- The entirety of the opening is a series of parallel shots between Merteuil and Valmont getting ready. Their routines are different, but both extravgant and incredibly rich. It shows how similar they are, even their colour schemes match well.

Sound

Nondiegetic Sound

- The movie opens in darkness, with only intense orchestral music playing in the background. This sets the mood of the movie right away, and also adds an element of context. A large orchestra usually means some kind of classy affair. French composers are used to add context to the story and it's origin.

- The background music changes to a calmer, more stately tune when the characters are getting ready. The repeative rythm and simple melody seems to suggest a sense of rotunine, that all this is done every single day.

- You can tell very subtly that this was adapated from a play by the way the sound dies off just before the dialouge starts, as the way an orchestra would in a live performance. 

Mise en Scene 

Set Design

- Everyone in this movie is extraordinarily rich, and this is exaggerated whenever it can be. We don't even meet Valmont before we see how many servants he has, the size of his room, and the elaborate ceremony he has when getting up. The robotic way the servants go about their routine suggests that this happens every day. 

Makeup and Costume 

- In a movie like this, given the context, all the costumes have to be extravagant and blinding. Even Valmont's nightclothes display this. It's no surprise that this movie won an award for its costumes. 

Props

- The letter in the very opening doubles up as a title card for the movie and allows for a very grand entrance for characters right after. 

Lighting 

- To not reveal Valmont's face for as long as possible, back lighting is used to cast shadow over his face and continue the mystery. 

Colour Design 

- The dark shadows of the opening coupled with the gold of the letter show that this is a serious drama with some very rich aspects, probably the characters.