The seducer A wonderful story about determination, perseverance and the ability to achieve everything almost for the lack of special talents. The protagonist, played by Pattinson, without a penny in his pocket and the ability to succinctly link words into printed text, gets a job in a Paris newspaper with his military friend, who is trying to overthrow the government with the help of the press.
Learning that Paris is run not by men, but by their wives, the young man turns into a lover for high-ranking people, trying to seduce literally everyone for their own benefit, a successful marriage and wealth. Fame, popularity and money completely take possession of him, and with amazing ease he gets away with any situation, regularly achieving his goal.
The European picture, shot with Hollywood brilliance and scope, in the bright style of historical melodramas, amazes with a variety of interiors, scenery, elegant ladies’ outfits and, of course, all its bed intrigues. Erotic scenes here, however, not so much, but most importantly – naked Christina Ricci we still, fortunately, will see. Once again, but her charm and beauty magnificent actress does not lose. And Thurman and Thomas play their parts extremely emotionally, gracefully clinging to the relationship of their heroines, shining in the most expressive scenes and squeezing the maximum possible.
The beauty of the American (Canadian) version of the series “Borgia” Holly Granger appears only at the end of the picture, and only adds charm to his tenderness, smile and play of enthusiastic eyes, rather than demonstrates that sensual-emotional palette of emotions, like other women winding around the main character. He, a noble seducer, climbs the ladder of wealth and authority of the name higher and higher, destroying hearts and breaking relationships.
The film perfectly demonstrates the type of person for whom simple love is not enough, and a relationship is either an excuse to calm passion or a strategic partnership. Love is almost out of the question here, with all the strength of the feelings demonstrated on the screen. At least on his part. The mistresses are exhibited in significantly different palettes and tones, but each with its own character. At the same time, Georges (Pattinson) and Clotilda (Ricci) start a real novel, adding to the cold-blooded procession from body to body at least some beautiful romantic notes, while, for example, Madeleine (Turman) flatly refuses to be the mistress of the main character while her husband lives and we are talking about some tiny love affairs.
Georges, however, is presented as cunning and stubborn, able to enjoy life to the fullest and able to wait. And let betrayals, betrayals and lies boil around, he always clearly knows what he wants and tries to achieve it in every possible way. The dialogue preceding the finale about wealth and love finally puts everything in its place, but the wedding episode, when this seducer passes by all his ladies, at the expense of whom he made his way to the top of the nobility, is a magnificent and brilliant scene from beginning to end. Even the understanding view of true love from Clotilde warms with joy and understanding, and the “love nest” in the end remains.
Throughout the picture, the relationship to the central character of the story can change and vary. Some of his actions cause obvious approval, others can cause indignation and even disgust. Self-interest, cynicism, neglect, as well as the almost complete absence of the concepts of friendship and love, and the honor that keeps these concepts as really high and important, turn Pattinson’s character into a contradictory personality, but bringing her own plot to happy ending.
And in the whole palette of pathos, passions and an exquisitely thought-out path to financial well-being, one regrets only that there could be more intrigue and scandals. Like, for example, after promising not to bring "other women" to the designated place. Clotilde could still catch Georges with someone else, somehow even more naively and in love acting out after his regular return and acceptance of the main character as he is. And with all the neglect of Georges all the people around him and the lack of gratitude for them, you still regret not abandoned women or a mother-in-law-(ex)mistress panicking in hysteria, but that the girl who gave him that very nickname “cute friend”, Georges for the timing of the picture never visited.
“Dear friend” looks beautiful and easy, although the inconsistency of the actions and behavior of the main character risks causing discontent among the viewer, but it already depends on the personal attitude to the events shown. Technically, here impeccably staged, saturated with action and chic historical entourage spectacle with a bright acting performance, really pretending to be a real delight.
8 IZ 10
Original