source: Bel Ami

Moviecut—Bel Ami

The Private Affairs of Bel Ami

This is the typical George Sanders typical role on screen, a role made for him, and only him. This suits him like a glove and I would say that no one else but him could have taken it. Cynical, ruthless, disenchanted dandy character that eventually was Sanders' trademark. One of his best role ever, so disgusting, nasty but with elegance and charm, lethal charm.

Maupaussant's roaring tale of the rise of Duroy is tamed slightly in this version, with George Sanders bumbling rather scheming his way to the top. It's let down by some poor production values, although the dueling scene at the end is well handled. Worth watching for the shocking view of 'The Temptation of St Anthony' in ultra-modern colour (about three quarters the way through) alone.

Although hard to get into this film, with a protagonist who is very unlikable and who, for all his scheming, seems to be falling upward in the social hiearchy more than effectively manipulating those he seeks to use, the movie is worth watching in order to contemplate the young and beautiful Angela Lansbury and the older, wiser, but still beautiful Ann Dvorak. And for the climactic duel.(And some might find the couture sufficiently haute to be worth watching.) The score by the great French composer, one of Les Six, Darius Milhaud, is pedestrian. Milhaud is not responsible for the annoying song "Bel Ami" which recurs far too often during the seemingly interminable 112 minutes of the movie in the version I saw.

Virtually the same story as the same star's later and contemporary DEATH OF A SCOUNDREL, THE PRIVATE AFFAIRS OF BEL AMI sees George Sanders on fine caddish form as a swine who works his way through a series of unfortunate women in 19th century France. The story is well staged by Albert Lewin, who wrings plenty of melodrama out of the events, and of course there's a great performance by George Sanders - one of the original "guys you love to hate" - as the titular bad guy. He's also given decent support by Angela Lansbury (who'd suppose she was ever young?) and John Carradine, playing outside of B-movies for once. The story is well paced and has a decent script, based on a story by ace writer Guy de Maupassant. It has inevitably dated in the years since release, lacking the moments of high drama that you'd expect from the premise, but it makes up for it with the dramatic stand-off at the climax.

an adaptation. and a great cast. perfect choice for Georges Duroy character. a subtle, precise, impressive George Sanders in one of his magnificent roles. so, the key is not manner to adapted the novel of Maupassant but the art of each actor. because this movie is scene for a lot of stars. the story is old but the play is new. the novel is French and the science of details and nuances makes this American movie fruit of French cinema. the tale of Bel Ami is, in great measure, grace of Sanders and his partners, slice of Dorian Gray. it is not a masterpiece but it is a very interesting lesson. to define a world, to discover a book, to escape from Nick Ormerod last adaptation spell. a film as old yellow picture. good beginning to visit a world, to joy with drops of old fashion cinema style, to rediscover few crust of emotions and reflection to our small and bleak world.

If this ISN'T the film where George Sanders patented the 'cad' that was to prove something of a signature then it should be as he brings it off to a fare-thee-well. Albert Lewin seemed almost alone in Hollywood in the forties in that he seemingly blended the set decorator taste of Mitchell Liesen with the style of Ernst Lubitsch in a mini canon of sophisticated films ranging from The Moon and Sixpence to Pandora and the Flying Dutchman via The Picture of Dorian Gray and this entry. The now rare sighting of Ann Dvorak is welcome as is the presence of Marie Wilson, still two years away from celebrity as My Friend Irma. John Carradine, in a less showy part than was his wont also scores heavily as the doomed friend who, with the best of intentions, starts Sanders on the slippery slope to cad-ism. It was also the last film of Warren Willian who had, in his time, played both Philo Vance and Perry Mason. Well worth a look.