Very very predictable, including the post credit scene !!!

From my favorite movies..

everything you have heard about this movie is true.

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

...for many reasons. few - the mark of Roger Vadim on a story almost classic, the presence of Boris Vian in a role reflecting his work, the cold chemistry between Jeanne Moreau and Gerard Philipe and for the most inspired soundtrack. because it is a jazz film. with improvisation and tension, seduction and precise picture of near reality. more than an adaptation, it is a confesion. Valmont by Philipe, one of his last roles, is more than an example of good job but a testimony about the force and nuances and beauty of the great game of nuances for a special actor. because it is not an ordinary film. it reflects its time more than the source of inspiration novel and the contemporary lost of emotion, form of profound insensitivity/cruelty/egocentric circles in brilliant way. and this is the motif to see it. maybe twice. for admire an authentic masterpiece. and an useful warning.

I seldom write about movies I have seen once, many years ago; but Les Liaisons' cast makes it worth.I would say this spicy '59 flick is the best thing Vadim ever directed; not so much an adaptation, but rather a variation on Laclos' theme, a light, sardonic and suspenseful treatment, in an interesting movie, the only time known to me when Vadim handled with shrewdness a subject. I have seen it some 10 yrs ago, and still remember my joy; if Laclos' novel is a sharp, elegant masterpiece, once known to the European connoisseurs of French culture, Vadim's flick is an amusement. The cast is especially delightful: Merteuil is played by Mme Moreau (--Glenn Close, Bening, Gellar, Deneuve have been other actresses to take the same role, 30—40 yrs later--); Valmont is played by Philipe, that amazing actor (--Malkovich, Firth, Everett are no true contenders …--); Mme. De Tourvel has been played by more famous actresses in the subsequent adaptations (Mrs. Pfeiffer, Mrs. Tilly and Mrs. Kinski).It seems an indecency to give Close and Malkovich roles once made by Moreau and Philipe;

This is one of the three best adaptations (This, Valmont, Dangerous Liaisons). People seem not to like it but I loved when I saw it. Maybe this is just because i read it before i read the novel and it was the first adaptation i saw. But, whatever, you say it is Vadim's best film. the updating in this film is ten times better than cruel intentions, which simply does not work in terms of update. Cruel Intentions does not make us very well understand the big deal about screwing Cecile. Even though it is not as much of a big deal in this film as it would have in the 18th century, it is still pretty big. I also love the idea that Valmont and Merteul are husband and wife. Although it changes some plot things from the novel, I think it works because of its simplicity and it also gives an excellent reason for what they do: They do it, selfishly, so as not to destroy their own relatonhip. Gerard Philippe and Janne Moreau's acting is absolutely superb. It is completely realistic and, like Yves Montand and Daniel Autel in Jean De Florette, it makes us realize that what they do is something we could as well unlike John Malkovich and Clenn Close in Dangereous Liaisons who are way too evil to be believed or understood.

One of the best films about heartlessness I've ever seen, largely because of the fine work of Jeanne Moreau as Juliette and Gérard Philipe as Valmont. Setting most of the action at a ski resort is especially brilliant because it's at once full of glamour and quite enclosed. For a while the film seems to be a sort of sex comedy, especially with the seduction of the young cousin Cecile (Jeanne Valérie), who is in love with fellow student Danceny (Jean-Louis Trintignant) and engaged to a dull fellow chosen by her family. Cecile is very comely, and the post-seduction scene when she lies nude on her stomach doing her geometry homework and Valmont rests the textbook on her bum—it's sweet and amusing. It turns sour when Juliette steals Danceny and forces Valmont to abandon the virtuous Marianne (Annette Vadim) with whom he's actually fallen in love. Moreau is strong and beautiful and twisted, a tour-de-force acting job. At last, an angry Danceny strikes despairing but still glamorous Valmont, who falls and hits his head on an andiron and dies. Juliette accidentally sets her clothing on fire trying to burn their awful letters. Marianne goes mad when she learns of Valmont's death, and with a trance-like smile talks softly about the imaginary home they might have had together. The photography is really fine, and the best additional thing is the wonderful music by Thelonius Monk and Art Blakey's Jazz Messengers. It's even better than I'd remembered it from many years ago.