The Private Affairs of Bel Ami (1947)

Most excellent story-telling entertainment guaranteed to deliver to the viewer a satisfaction while viewing and closure at the end gripping you all the way. While the story is excellent the star of the flick captures the part and delivers the goods on a platter. The result? Reviews like this and a bonus too. There is a statement made by a blind pianist during dinner time in the movie that was quite profound. I took note of it at the time, appreciated it and only to have it catch me off-guard at a later time and as result, pulled some well-earned tears right out of me. I leave it to you to have your own experience and will tell you no more. Nicely done to all involved. Enjoy the backgrounds of life during this time, its polite society and the social, drinking, courting and dueling of the times presented. Supporting cast was excellent and the director made certain we got all the necessary messages without asking for them. I am a fan of the classics because they have the qualities that live on in the movie world. I especially enjoy the dialogues and scenery as well as customs captured for the movie themes. Today, its all sex, killing and loud noises as if that is all there is. The classics remind us there is much more art involved and clearly no accidents either. I enjoyed a nice roast chicken which I picked on and some delicious dessert as I love eating while watching a show. This is a good movie for a favorite snacking too. Enjoy this little "affair"

Did the urbane character George Sanders get bitten by some bug while in Africa that made him decide that he needed to seduce every woman he walked by? It seems that way as he makes his way through Paris society treating street whores like a countess, and treating countesses like street whores. Of course, once he gets them, he tosses them aside as soon as his appetite is filled. That is all but one whom he can't seem to get out of his mind, and that is the graceful widow played by the magnificent Angela Lansbury. Having been the victim of Dorian Gray some two years before while Sanders watched from the sidelines, Lansbury is a lady here rather than a poor down-on-her-luck singer, yet one not so obsessed with her station in life as intently as she is on remaining true to the one man she loves. She's a widow with a sweet young daughter, and upon meeting Sanders at a dinner party given by Sanders' old pal John Carradine and his wife Ann Dvorak, she's smitten. The problem is however that so is pretty much every woman Sanders encounters, and that includes the very married Dvorak.What is the truth about Sanders' character here? That is the mystery that rolls through this somewhat over-long melodrama, sometimes slow, sometimes mesmerizing. Is Sanders a simple Don Juan, or is he a Libertine, or does he secretly hate women for some reason, wanting to break their spirits and destroy them? Look how he treats cafe singer Marie Wilson who makes a scene when he ignores her after he shows up after meeting Lansbury, having first met Wilson, insulted her publicly, then seducing her for "what the heck's" sake. He's not above seducing all the married women in society, and while his charm is obvious, it is also clear that he will never sincerely mean what he tells them. The film gives the impression that when he is seducing one woman, he's thinking of another woman in his mind, particularly Lansbury who writes him a love letter of such poetic beauty, you'd think he'd change his womanizing ways instantly. But Sanders' character is obviously insane, if not violently so, definitely a sociopath. It's watching his character rise and fall that makes this so fascinating, even if he is definitely one of the biggest rogues to be seen on screen.I wanted to see more of both Carradine and Warren William, who ironically was sort of the George Sanders of the early 30's with his ultra womanizing characters seducing then dropping practically every lady in sight. Of course, both could play the gentlemen and be noble, but villains are always more fascinating, especially if they are played with many layers. Frances Dee is excellent as a troubled married woman who allows herself to be seduced with tears behind her eyes as she realizes she's being pulled into intrigue by the devil himself. Susan Douglas also gives an excellent performance as Dee's daughter who as Sanders ages becomes the latest victim, one which will surely lead to his doom as the world catches up to his sins. This isn't an easy film to watch, but it is one that if totally alert, you can get through like you would the world's most famous epic novels. And in the end, Sanders is a character you do feel sorry for, because with someone as wonderful as Lansbury's character there pining for him, you just want him to wake up and realize the missed opportunity he's turning away from.

In the 1880's, a handsome rake schemes his way to the top of French society leaving a trail of exploited women in his wake.I was about to slam Sanders' performance as a wooden one-note. Note how in the many close-ups his expression rarely changes, conveying little or no emotion, regardless the situation. Then it occurred to me. That's exactly right for such a heartless egotist as Duroy. In fact, he feels no emotion. Instead he's a walking calculator in the way he uses people. In place of warmth or animated charm, he seduces women with a strongly masculine presence and complete self-assurance, which Sanders conveys, in spades. Note too, how in the dueling scene, Duroy looks on impassively while his opponent musters strength to shoot him. Now a lack of emotion while staring death in the face is either evidence of an iron will or a simple lack of feeling. Of course, as an actor, Sanders can emote subtly or otherwise when called upon, as his lengthy career shows. So I figure his impassive manner in this movie is intended to define Duroy's character, and is not a deficiency on either the actor's or director's part.Anyway, the movie itself amounts to a triumph of parlor room refinement. I especially like Lansbury. Her baby-face Clotilde provides enough meaningful emotion to engage the audience in ways that Duroy does not. In fact, the actresses, including a poignant Marie Wilson, are all well cast. Still, pairing the 40-year old Sanders with a girlish Douglas, half his age, amounts to a real stretch. But catch some of those parlor room sets that are doozies. The one with the checkered floor and striped wall had me cleaning my glasses. Overall, it's an oddly affecting morality play, with a style and taste that make even the painted backdrops somehow appropriate. Too bad this was the great Warren William's (Laroche) last movie. In terms of a commanding presence, he and Sanders belong together, as William's pre-Code films abundantly show. Nonetheless, this is one of the few features of the time to make a thoroughly dislikable character the central figure. And that took some guts. No wonder the film was an independent production.

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.