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  3. Which was the most evil of the three film adaptations? (1988, 89 or 99)

Which was the most evil of the three film adaptations? (1988, 89 or 99)

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    Archived from the IMDb Discussion Forums — Dangerous Liaisons


    shaye22 — 12 years ago(March 28, 2014 04:27 AM)

    My vote goes to Dangerous Liaisons (1988). Glenn Close and John Malkovich were relentless in their evil ways! Everything the latter uttered was either manipulative or a lie, the former was subdued but no less cunning than her male counterpart. The ending was subtle, and very built up very quick, but was ultimately very powerful. However I do feel that Cruel Intentions (1999) had a more satisfying resolution the finale was extremely well done what with The Verve song (a very nice touch!) and Katherine's comeuppance and Annette's well deserved victory.

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      rc1990 — 10 years ago(January 13, 2016 01:39 PM)

      88.. Merteuil laughs when she hears about Cecile's miscarriage. Enough said.

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        MCGarten — 10 years ago(March 04, 2016 08:47 AM)

        agree, 1988
        Recently saw the NTL 2015 production which was pretty awful. As much as I love Dominic West, he was completely miscast and his acting wooden.

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          bdhrentertainment — 9 years ago(December 04, 2016 05:48 PM)

          The 1988 version. You see the humanity in Close's character, but that she chooses to engage in monstrous behavior anyway. It's that juxtaposition of seeing the human in the monster that makes her behavior all the more reprehensible.
          As for Cruel Intentions, you saying you like the ending better?!? Are you kidding?!? The mirror scene where Close to left to look at herself as she is wiping off her makeup is absolute PERFECTION.
          The metaphors: Close being stripped of the appearance she puts forth to society.
          In affect, she's now naked & vulnerable. Close looks at herself and realizes what she has become.
          Close's punishment is 10x worse, b/c she lost Malkovich, the one man she truly loved. She is left to live the rest of her life shunned by the society that she wanted to embrace her (IE: the opera booing scene).

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