In Belle Epoque Paris, Lea (Pfeiffer) is an aging courtesan who still has considerable powers of seduction. Former competitor Charlotte (Bates) is worried about her spoiled hedonist son Chéri (Friend), and suggests that Lea help him out. But Lea begins to fall for Chéri. Charlotte isn't happy about this, and arranges a marriage between Cheri and the virginal Edmee (Jones), daughter of another courtesan (Hjejle). Will Chéri have the backbone to stand up for true love? Does he even know what love is?

The film is brisk, snappy and packed with Oscar Wilde-style one-liners ("I can't criticise his character mainly because he doesn't seem to have one," Lea observes). This fast, smart chatter keeps us entertained as we wait for the real story to kick in. But this is the real story; it's a film about a series of small events that only hint at something bigger. This makes the film feel slight and slightly aimless, even though there are some terrific things going on under the surface.

And Pfeiffer is simply wonderful at catching Lea's attempts to hide her inner aching with stiff-upper-lip wit. Her strained smiles and icy laughs only barely disguise her longing and emotion, as well as her fear of aging. Opposite her, Friend is very good, creating someone who's deeply attractive and yet never remotely likeable. We don't mind what happens to him at all, and that's the point. By contrast, Bates is allowed to go over the top as his shrewish mother.

Technically, the film is spotless, with gorgeous cinematography, colourful costumes, detailed sets and a marvellous Alexandre Desplat score. Frears' direction is more efficient than insightful (and his voiceover a bit desperately jaunty), although he does make sure that there's a vivid darkness lurking just beneath the film's bouncy surface. In the end, it's a remarkable observation on how romantic fantasy can never live up to reality. And how the taste of youth is never quite satisfying.

themes, sexuality, innuendo, drugs

10.Feb.09 bff