We do not know what the Lliure will have that attracts controversy like a magnet. The last one has caused her Carol Lopez when he explained that in his new work Catalan was the “language of power”. In reality, beyond the heat so typical of the networks, there is no controversy where to scratch. The director has always mixed languages in her pieces and the new adaptation of ‘Les amistats perilloses’ is no exception, even though it is set in 18th century France.
Its two sibylline protagonists communicate with each other in Spanish, the intimacy of the epistolary relationship of the original is impregnated with the lilting and hissing accent of Gonzalo Cunillwho gives life to the Machiavellian valmont, closer to the sophisticated film version of John Malkovich than to that of Colin Firth. His evil ‘partenaire’ is the Marquise de Merteuilan accomplice in his plots that he interprets Mónica López in her most determined and resolute facetwhich literally overflows the limits of the stage and the theater in an anthology finale.
More cinema, because the proposal is reminiscent of Sofia Coppola’s ‘Marie Antoinette’ at times, with its abundant anachronisms that jump from rococo to contemporary rock, chandeliers that give way to discotheque mirror balls, and some sugary musical number that would fit in ‘La La Land’. A peculiar stew, but surprisingly curdles within the irreverent spirit of the source book. The portrait of intellectual decadence and idle pre-revolutionary customs remains, a treatise on the fine line that separates high and low passions.
sparkling dialogues
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The theatrical adaptation that the director López has set for herself is seducing from the outset because she has known transform the letters into sparkling dialogues full of tangles. A twist on the characters to give a more empowered air to the outraged Cécile, a role that Elena Tarrats it leads obediently from pettiness to rapture; or the virtuous Madame de Tourvel of Mima Riera, who traces a very rich arc of virtue until its fall into the shadows. and although Marta Pérez still manages to sneak in a sideways gagthe rest of the cast is caught up in the tendency to use a thick line, to simplify a novel built with intertwined subtlety that does not quite take off in nuances and double meanings.
Cynicism is modernized, she dresses in a crinoline but with sunglasses (accurate characterization of Nídia Tusal). The galloping amorality of the libertines collides with the reading of the present: there is the rape of a minor that hits politically correct. So that later they say that a new censorious and puritanical era prevails.