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  • Dangerous Liaisons (1988) [BluRay] [1080p] [YTS.AM]
  • 1.9 GB
  • FREEMAN
  • Dangerous Liaisons 1988 BluRay 1080p YTS
  • English
  • 1080p
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Dangerous Liaisons (1988)

  • Drama Romance
  • In 18th century France, Marquise de Merteuil asks her ex-lover Vicomte de Valmont to seduce the future wife of another ex-lover of hers in return for one last night with her. Yet things don’t go as planned.

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    English
  • $14,000,000
  • Description

    In 18th century France, the Marquise de Merteuil and the Vicomte de Valmont play a dangerous game of seduction. Valmont is someone who measures success by the number of his conquests and Merteuil challenges him to seduce the soon to be married Cecile de Volanges and provide proof in writing of his success. His reward for doing so will be to spend the night with Merteuil. He has little difficulty seducing Cecile but what he really wants is to seduce Madame de Tourvel. When Merteuil learns that he has actually fallen in love with her, she refuses to let him claim his reward for seducing Cecile. Death soon follows.

    IMDB: http://www.imdb.com/title/tt0094947/

    Dangerous Liaisons (1988) download

    Dangerous Liaisons (1988) download

    Dangerous Liaisons (1988) download


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    Reviews

    Comments

    9 months ago

    You wouldn't necessarily think that an adaptation of an albeit famous 17th century French novel would make a relevant and fascinating piece of cinema... but it does.The first thing that strikes you is how well the film is lit and shot. The period locations and costumes are visually sumptuous and perfect. Better yet, the acting entirely matches the skill of the direction that takes its method from the theatre - emotions are conveyed by expression and not dialogue. Glenn Close gives her best performance on celluloid as the scheming Madame de Merteuil, amorally hellbent on bending everyone to her will, no matter the method or the cost, and John Malkovitch is her perfect foil as the cynical hedonistic but world-weary Valmont. Michelle Pfeiffer engages our empathy as the tortured and manipulated target of Malkovitch's desire and Close's plotting.The film is basically a morality tale, but one that fascinates in its exposure of ego, vanity, intrigue and the war between the genders, subjects that are timeless in their relevance, despite the period setting. The storyline, which sticks faithfully to the original novel, remains compelling throughout as we watch deceits within deceits take their tragic course. Whole-heartedly recommended - take your time over it, and enjoy.

    9 months ago

    "Dangerous Liaisons" is this incredible movie that is so under rated. It's the battle of the sexes and this book was written over 200 years ago! I love to know that there was this same problem that we still have to this day. That's why enjoyed "Dangerous Liaisons" so much because it proves that we have so many differences from the opposite sexes. Men are usually expected to have sex and with a few clever words destroy women's reputations in minutes, while women have to be careful of sleeping with whom, because it's considered shameful.Glenn Close plays Marquise Isabelle de Merteuil, a proper lady with a secretive double life of sex and wishing to destroy a girl's reputation for revenge on her ex for dumping her for this young lady. She also makes a bet with her closest friend, Vicomte Sébastien de Valmont played by John Malkovich, that he could not bed a lady of such high stature and morals, in return if he succeeds, he will finally have the conquest he's been dreaming of, bedding Marquise Isabelle. I don't care what people say, this was Glenn's best performance and she was so brilliant. Her speech of "Dominate your sex and avenge my own" was perfect and as a woman I rooted for her in the story. She is a tragic figure that was over looked by many as just another slut. Glenn had my sympathy and I agreed with a lot of her dialog.John as Valmont was absolutely perfect, he's not that sexy looking but has such charm and charisma on the screen you believe him as a lady's man. "It's beyond my control", he repeats this several times throughout the film and it becomes more darker each and every time he says it to Michelle's character. He does the Marquise a favor of bedding young Cecile to help the Marquise's plan of revenge and does such a good job. It was almost too easy for him, but he has a more difficult task of bedding Madame Marie de Tourvel who is married and has very high morals and standards of God and love. He falls in love with her in the process of getting to know her and is so believable, you can see how it breaks his heart to break her's. But he feels he must stand by his reputation and your own heart goes out to him despite his cruel manors as a "man".Michelle Pfeiffer as Marie de Tourvel is so beautiful and elegant and is the only one who knows of Valmont's true side. But she cannot help but fall for his charm and love for her, when she talks to his aunt, this is one of the most true speeches ever in cinema that all women can relate too "I'm sorry to say this but those who are most worthy of love are never made happy by it. Do you still think men love the way we do? No... men enjoy the happiness they feel. We can only enjoy the happiness we give. They are not capable of devoting themselves exclusively to one person. So to hope to be made happy by love is a certain cause of grief." That is so incredibly and painfully true that Marie knows better but can't help but give herself to Valmont.Swoosie Kurtz, Uma Thurman, and Mildred Natwick are all so exceptional and amazing as well in the film. They truly bring the story to life and keep it going with their dialog and actions. Keanu? Shudder, his acting is like... how do I put this delicately? I think it's... wood. :) Otherwise, trust me this is one of the best movies of all time. This deserves higher than a 7.6 and should be in the top 250. But it's beyond my control. :D 10/10

    9 months ago

    The Age of Enlightment gave to the world some pretty controversial minds. At one end of the spectrum there was the Marquis de Sade who, no secret to anyone, created the concept that is now known as sadism. At the other end there is Choderlos de Laclos, who is widely known for creating this story which in essence is very close to Sade's dark heart even when it never reaches the extremes of his florid depictions of ritualistic, sexual perversion.DANGEROUS LIAISONS, based on the novel "Les Liaisons Dangereuses", is this tale, Laclos' most known, adapted many times for television and screen, but never like this with such attention to detail to make it as French as possible, and bringing a classical sensibility to the front. Stephen Frears, in his American film debut, creates a lush visage of restrained yet swooning passions, icy stares, and hushed, measured speeches against the backdrop of the Ile-de-France and should have been the film of the year had it not been for the usual sentimentalism prevalent during the 1980's which gave the major awards to RAINMAN, a film centered around autism that, while delicate as a subject matter was hardly dramatic and today is barely memorable.On the other hand, this story is. The dark comedy that pins two bored aristocrats against each other as they play God with other people's lives without realizing the devastating consequences that will result from this has been the stuff of legend and allure. Glenn Close, John Malkovich, and Michelle Pfeiffer all are beyond awards in their exacting and multidimensional portrayals of three very different people caught in a web of deceit. However the star of this adaptation has to be Christopher Hampton who immortalizes Laclos' vision in a subtle, yet powerful story filled with subtext and restrained cruelty. He's the one who suggests pages about his characters, most tellingly of the Marquis de Merteuil in three key scenes: in the first, opening sequence (which she also shares with the Vicomte de Valmont), she admires her reflection in a mirror with a smug expression akin to the Mona Lisa. She is in control and about to go through with her activities. She is dressed into an orgy of corsets and fabric, looking directly into the camera -- the Vicomte does the same as he is dressed -- which sets their characters' tones. They are mirror images of one another, each in their gender. Both are apparently, in full control.The second telling revelation of the Marquise is when she arrives to the Volanges' to give advice to Cecile about virtue. You can see how she has her Mona Lisa smile on, which as soon as she gets off her carriage turns to a rictus of anguish. Cut to her later saying about shame: "You find the shame is like the pain. You only feel it once." As her head rests against a window you may see her eyes briefly moisten. Her expression is, however, blank, but very deep and expressive. It's the first time she cracks open the door to her inner face, but just a little and only for a second, but what a second! The last time Hampton describes Merteuil is in a scene which mirrors the first scene: watch how again, she looks at herself in her mirror. Her traps have been discovered and she faces her own self and uncertain future, having destroyed everyone around her and being left alone. It's the calm right before the taking of the Bastille, hence why the timing of the story has to be in the Eighteenth Century, right before the French Revolution. And in being so revealing while using expressions, Hampton creates the internal dialog that was the driving force behind the epistolary nature of the novel. His rendition of the Madame de Tourvel and Valmont are no less complex. Michelle Pfieffer, with minimal dialog and her wide, doe eyes, is given a rewarding role that explodes during her face-off with Malkovich when her character is betrayed. Their physicality skirts with sadism and sets the stage for Valmont's own internal pain as he faces his own mortality, since he has been led to destroy the one he loves, and for a promise and nothing else.It's been no mystery that films that lose to other, "of the moment" films become timeless and the stuff that makes movie magic. DANGEROUS LIAISONS, nearly twenty years later, still bites, especially when from a light comedy it becomes this horrific monster staring at us from the abyss, more so because of the exquisite cruelty that we cause to others in the name of reputation and vanity. And in that, the Marquise is right: vanity and love are incompatible. Just look at Valmont and you will see why.

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