“Chéri”

SYNOPSIS

Paris, 1906. By the turn of the 20th century, Paris had enjoyed several years as the most fashionable city in Europe. Its artists and writers were world famous, it was at the forefront of cultural and intellectual progress and it was the destination of choice for the world’s richest and most powerful people. It was also, of course, famous for its courtesans, women so beautiful, witty and expert in the art of love-making that Crown Princes, Grand Dukes and captains of industry from all over Europe competed for their favours – favours that came at a price.

One of the most successful is Léa de Lonval, who has become a rich woman thanks to her smart financial sense. Now in her 40s, but still a beautiful woman, she lives in an elegant Art Nouveau house where she enjoys her wealth and well-earned independence.

One day Léa goes to lunch with her old friend and former colleague Mme Peloux. Once a great beauty, Mme Peloux is keenly aware that she has lost her looks with the passing of time and this has made her a bitter and spiteful middle-aged woman. Léa has no great affection for her but knows that women of their profession have few friends in whom to confide.

Mme Peloux’s son is Fred, nicknamed Chéri by Léa, a gorgeous but spoilt young man of 19 who is living a life of louche hedonism. Mme Peloux knows he needs to grow up and sees in Léa the perfect mentor who will instruct him in the art of living and loving and prepare him for his future. Chéri looks up to Léa almost as much as he looks down on his own mother and playfully flirts with her. But there seems to be more to their feelings than mere affection: when he kisses Léa passionately on the mouth as they talk in the conservatory after lunch, she momentarily loses her cool and he is suddenly overwhelmed.

The deal, however, is set: Léa will take Chéri in until he has become a man and is ready for marriage. And so begins the education of an indolent and unformed teenager by a worldly older woman, both certain that they have built robust defence mechanisms against becoming too emotionally involved.

It was meant to last just weeks but six years has passed and Chéri is still in Léa’s house. The couple are very comfortable together, gently teasing each other, bickering good-naturedly and still luxuriating in each other’s arms. But when Chéri is summoned to lunch with his mother, her acquaintance Marie-Laure, another courtesan, and Marie-Laure’s teenage daughter Edmée, they are both surprised that Léa has only been invited to join them for tea.

When Léa arrives after lunch, Mme Peloux tells her that she is arranging a marriage for Chéri. Léa successfully conceals her shock but the news chills her. She realises it is Edmée who is the lucky bride-to-be and that the deal has been hatched between Mme Peloux and Marie-Laure, all too keen to be rid of her daughter so she can be free to work. The wedding is set for a few weeks’ time.

The same evening, Léa confronts Chéri about the news, smarting at the fact that he’d known about it for months and been too cowardly to break it to her. Her seemingly casual exterior hides a very real anger and hurt. Chéri is hurt too, and his concern is for Léa’s future: what is she going to do now? He wants to be the last young man in her life but knows that she is unlikely to change her ways.

It’s dawning on both of them that the marriage will mean the end of their relationship. Although Chéri wants to continue to be a part of Léa’s life, she knows that her time is over and she must banish him from her life. The realisation cuts them both to the bone.

During their honeymoon in Italy, Chéri’s anger and frustration comes to the fore and his emotional cruelty towards his innocent young bride is shocking. Meanwhile back in Paris, Léa has to endure the barbed comments of Mme Peloux who takes great pleasure in seeing her rival so emotionally vulnerable. She decides to escape to Biarritz and leads Mme Peloux to believe she’s in the company of a new man. Indeed, when she arrives on the coast, she meets a young man named Roland who enthusiastically enjoys her favours.

When Chéri and Edmée return, it’s clear the honeymoon has not brought them closer together. And it’s clear that Chéri is still pining for Léa. Very soon, it becomes too much for Edmée and she snaps, reproaching her husband for his indifference and cruelty. Chéri can bear it no longer and later that night leaves the house. He moves into the Hotel Regina and spends his days partly staking out Léa’s villa awaiting her return and partly killing time in an opium den run by a former courtesan, La Copine.

Three weeks later, Léa is back in Paris and Chéri returns overjoyed to his mother’s house and into Edmée’s arms – at last, the waiting is over! Mme Peloux visits Léa and the mention of Chéri’s name send a shiver of melancholy yearning through her – which Mme Peloux, in all her spite, enjoys provoking.

Later that night, Léa is confronted by Chéri who sweeps into her boudoir announcing his return. Léa is overjoyed at his return and the pair collapse into each other’s arms. The next morning she begins to make arrangements for their departure – to the South, perhaps, somewhere far away where they’ll cause as little scandal as possible – but Chéri is strangely quiet. He wasn’t expecting this, he wanted to keep Lea in Paris as a distraction from his life with Edmée. At least with Edmée he can be a man, he thinks; with Léa, he’ll always be a boy.

It’s too much for Léa. After a tearful embrace, she makes the ultimate sacrifice and forces him to leave. As she watches him walk away, she begins to contemplate a life without him.

ABOUT THE PRODUCTION

Christopher Hampton, the Academy Award-winning screenwriter behind Dangerous Liaisons, was developing a screenplay about the renowned French author Colette (1873-1954) when he began adapting her most famous novel Chéri. Written in 1920, it told the story of the doomed love affair between Léa de Lonval, one of the most celebrated courtesans of the day, and Chéri, the young son of an old colleague and rival.

“Colette has always been one of my favourite writers and I got very interested in doing the Colette life story because she had a tyranical older husband and ran away to become a striptease artiste,” says Hampton. “Colette is loved and admired because she writes in a very individual and personal way and writes very sensitively about women. With some writers you don’t need to research much but Colette was fascinating and it was a pleasure to read her other works.”

It was the love story theme of Chéri that proved such an irresistible attraction for Hampton. “It’s a story of two people who have no idea that they’re in love with each other,” he says of the film’s protagonists. “Léa thinks she’ll educate this younger boy and then pass him on a wiser man, and Chéri thinks he’s landed on his feet with a beautiful woman taking care of him until it’s time for him to move on. They know there’s an end point to their relationship. But when it arrives they both realise that they will miss each other very badly. A rather heroic act by Léa liberates Chéri and lets him go but at great cost to herself. You suspect he won’t recover too well either.”

Of course, the early 1900s milieu in which the story is set was another draw for the writer. “This is a fascinating world, this demi-monde, which at the end of 19th century reached its peak but was approaching its decline at time of the story in 1906,” says Hampton. “This was a corner of society, the courtesans, who had amassed spectacular wealth. They had to stick together because they were shunned from the rest of society but they had very interesting lives, they were very cultivated and they were unlike any contemporary group you can think of. There was something very modern about this group in one respect because they were emancipated women.”

Although translating from the original French afforded Hampton a certain freedom in being able to pick and chose from the dialogue in the novel, the fact that it isn’t a conventional narrative posed a more taxing creative challenge. “Colette’s an impressionist, there are little bursts of dialogue or imagery,” he explains. “She can spend 20 pages on one scene but three months can fly by in a paragraph. At the start I found I had a first draft that was longer than the novel itself! So I had to ruthlessly prune.”

After various false starts, Hampton discovered that Bill Kenwright, top UK theatre impresario, had optioned the rights, just as Kenwright himself was about to approach Hampton to tackle his long-gestating screen adaptation.

“Christopher Hampton was my first choice to adapt the novel,” says Kenwright. “His first draft was wonderful but it was a real battle to get it onto the screen because it’s a costume drama, because it’s such a simple, focused story, because it’s so tragic and I would have thought mostly because the world of the Courtesan is probably not one that contemporary audiences know a lot about.”

It was Stephen Frears’ involvement that finally brought the project together at the end of 2007. The director was riding high thanks to The Queen which not only won lead Helen Mirren an Academy Award for Best Actress but also became a worldwide hit for Miramax. He was approached by Kenwright and agreed to come on board within 24 hours of reading the screenplay.

Frears was attracted to the project partly because of Hampton’s evocative screenplay but also because it was a chance to explore an era some 100 years removed from The Queen.

“Christopher’s script was wonderful and Colette is a brilliant writer and the story seemed very fresh to me,” says the director. “It’s so beautiful, so old-fashioned and so frivolous and yet also so melancholic and tragic, and at the same time very clever. That’s because Colette was such a clever writer. She’s an impressionist. The story is a series of impressions and making them all add up into something is the challenge. It’s the most extreme film I’ve ever made and the most original story about people living in a bubble. These women were very powerful and had a lot of influence, but they lived in an enclosed society which was cut off from the mainstream. And as Lea tells Madame Peloux, they have to make friends within the profession because no one else understands them. And, of course, they’re also acutely aware of what happens to them when they age and lose their beauty”

For a director who says he finds making films “very difficult”, he won the admiration of the whole cast and crew. Says Hampton: “I like working with him very much. I soon learnt that it was very unusual for a director to have the writer there – it’s too dangerous to have a boring pedant there all the time picking holes in what’s going on – but Stephen’s different. There’s an enormous depth and generosity to his collaborativeness. He has a very subtle approach when a scene isn’t working, when a scene is too long, or something doesn’t work. I’ve learned to trust those instincts. It’s often to do with words but also to do with concision and often to do with mood, finding a pause that will complete the music of the scene. In that sense, he’s very intuitive.”

Frears also lived up to all Bill Kenwright’s expectations. “I was huge fan of Stephen’s – two of my favourite films are The Grifters and Hi-Lo Country – and it was a thrill to work with him. You’re blessed when you find someone like Stephen; I knew he could make the film work. And he’s great with the actors; he does a lot of takes, to get the actors’ juices going. He knew exactly what he wanted and how the film should look from very early on. He was very painstaking and focused and was meticulous about the mood of the film. Really, he’s a master.”

With Frears at the helm, Kenwright was able to secure backing from two key partners, Pathe and Miramax Films. But the key to making the film succeed was finding the right actors for the roles of Léa de Lonval and Chéri.

CASTING THE FILM

Casting the character of Léa proved a unique challenge. The filmmakers knew there were few actresses who had the qualities they were looking for as a woman in her 40s who was naturally beautiful and sensually charismatic. One name, however, was the perfect fit and she had already worked with Frears and Hampton – Michelle Pfeiffer, whose haunting performance in Dangerous Liaisons won her her first Academy Award nomination in 1989 and had recently returned to the spotlight with acclaimed turns in Stardust and Hairspray.

“Pfeiffer,” says Frears with characteristic insight “upsets you. She was upsetting in Dangerous Liaisons – I knew that as soon as I met her – and she’s upsetting in this. She’s unnerving, as though being that beautiful contains its own tragic quality.”

But it was not just her mesmerising screen presence and looks that made her ideal for the part. Her performance captures exactly the spirit of the novel. As producer Bill Kenwright says, “Michelle took a chance doing this. The character could be played in several ways but Michelle’s subtlety and vulnerability is astonishing.”

For her part, Michelle Pfeiffer required very little persuading to board the project. “It was the thought of working again with Stephen and Christopher that appealed so much,” says Pfeiffer. “Really, I’d do anything with Stephen and when I read the script and the novel, I was thrilled to be involved.”

“What I like about Colette’s writing is that Léa is not a cartoon version of what a courtesan of the time would look and behave like,” continues Pfeiffer. “She’s smart, she has a great sense of humour and she’s kind. She’s classy and elegant and she’s also a good person and that’s very unexpected. She’s very happy with her life – the top courtesans like Léa were independently wealthy and very smart businesswomen and travelled among the aristocracy – but then this young beautiful boy Chéri comes into her life and she loses her perspective and falls prey to her heart for the first time in her life. I think she regrets that love has never happened for her but she’s always accepted it happened because of the choices she has made. Perhaps she feels that this was her last chance. We see her grapple with the aging process – she’s over 40 after all – and towards the end of their relationship she can’t deny that she’s getting older and we see her coming to terms with and accepting that.”

Working with Christopher Hampton also proved a powerful draw. “Christopher’s writing is so beautiful – but it’s also unbelievably challenging particularly for Americans. We talk in a flat monotone and Christopher’s writing is dense and wordy and has a very different rhythm to it. I found that breaking it down into iambic really helped in getting the rhythm and cadence right. That Christopher was on set all through the shoot was so comforting for me – Colette’s writing can often be open to interpretation so it was a boon to have him there to discuss the characters’ motivations and thought processes.”

One challenge of the film was Frears’ working methods. “We didn’t rehearse,” she laughs. “We would only rehearse on the day of shooting so it was a really tough process but it’s the way Stephen worked. It got really difficult when the script changed at last minute. You know, I’d spend a long time learning the lines and the rhythm of those lines and then they’d change it right when we got on set! By the end of the shoot, I’d started sending them very polite texts saying, ‘Yes, of course, I know you need to rewrite but could we please have a little more notice!’ But really, working with Stephen was a treat. He’s such a lovely character – he walks around he set like a grumpy old man but he’s funny and smart and it was a joy to work with a director of his calibre.”

The role of Chéri was another challenge. The filmmakers were looking for an actor who could convincingly look 19 years old at the beginning of the film and who could imbue the role of a spoilt, selfish young man with a quality audiences could sympathise with.

Frears auditioned several American actors but it was British newcomer Rupert Friend who convinced as a young man at once virile but sensitive, cocky but vulnerable, a young boy who gradually matures into a man who realises how much his older lover has come to mean to him. He thus becomes another of the long line of budding actors on whom Frears has taken a punt and who have gone on to international stardom, including Chiwetel Ejiofor (Dirty Pretty Things), Michael Sheen (The Deal), Jack Black (High Fidelity) and Daniel Day-Lewis (My Beautiful Laundrette).

“Chéri is 19 years old when the story stars,” says Friend, “and is carefree, spoilt and untroubled but he’s a callow young man and his mother knows that he needs to learn the qualities that will help him get on – refinement, conversation, etiquette. And Léa has many years of experience and can teach him and not pander to his selfishness. But the relationship changes after six years when Léa finds out about his arranged marriage to Edmée. She feels betrayed when she finds out. And Chéri can’t decide where he wants to be – with Léa or in a conventional marriage which will give him an air of respectability.”

Finding the key to the character provided its own challenges for Friend. “There’s something elusive about Chéri,” he explains. “And there’s also a sense of enormous apathy about him; he’s very passive. That makes it very hard: if you’re trying to find what’s driving someone and the answer is nothing, it makes it much harder to get a handle on the character – harder, but very rewarding when you find it.”

Friend returned to Colette’s original novel when he needed inspiration. “Colette is such a great writer,” says Friend, “She manages to convey something in just one sentence, picking out the one detail you need to see the whole character or the whole scene.”

As for working with such a formidable line-up of talent, Friend says: “I’d be lying if I didn’t say it was quite frightening acting with Michelle Pfeiffer and Kathy Bates but once the work started they became Madame Peloux and Léa. I had to think of them like that or I wouldn’t get out of bed every morning for shaking! But when you work with actors of that calibre, you’re galvanised into raising your game. And they were so professional and so generous with me.”

If he was intimidated, then Friend certainly didn’t show it. “Rupert is so young but so very smart,” says Pfeiffer. “He was a gentleman all through the shoot, especially during the more challenging scenes, and if he was nervous, he hid it very well.”

Working with Stephen Frears also proved a particular pleasure, he says. “Stephen was perfect for Colette because both have an incredible wit and a love of dry humour. They’re both always looking for a wry angle. Colette paints a world where people are caustic about each other but are fond of each other too. But it’s a world of verbal jousting and where things change in a heartbeat; it’s mercurial. And that’s Stephen too.”

For the role of Chéri’s mother, the filmmakers approached Kathy Bates. The Academy Award-winning actress jumped at the chance to portray the larger-than-life Madame Peloux who has become bitter in middle-age but still remains a comic character because of her catty bitchiness.

Says Stephen Frears: “As soon as Kathy’s name came up, I knew she had the humour to do it. Filmmaking is about assembling a group of people who fit together; you’re trying to get the picture right, so everyone is making the same film. And I knew Kathy would fit.”

It was not just the character of Madame Peloux and the chance to immerse herself in the period that proved such a powerful draw for Bates. It was also working with Stephen Frears

“These courtesans had become very powerful, influential and rich,” she says. “The story is set towards the end of their heyday and, like many of her peers, Madame Peloux is no longer working and so is very money-conscious. She knows she has no way of making a living now except by being smart over her money. It has made her manipulative; she manipulates everything and everyone to her own satisfaction. She uses Léa, with whom she’s always had a fierce rivalry, and her own son to gets what she wants, which is money.”

As Michelle Pfeiffer explains, the relationship between Léa and Madame Peloux is borne more out of necessity than any genuine affection. “However independent these women were, they were also isolated and were inevitably judged by the rest of society. So there’s a kinship between Léa and Mme Peloux because they understand each other’s worlds and what it means to be a courtesan. It’s like any profession – only people who belong to the same profession can truly sympathise with each other. But there’s also a competitive edge to their relationship – probably in the past over men but even now over Chéri. Madame Peloux may have manipulated the entire thing – she wants someone else to take care of her out-of-control son and shoulder the financial burden of looking after him – but I suspect there’s an underlying rivalry over him.”

“Madame Peloux was not a good mother,” continues the actress. “Courtesans in general didn’t like the idea of children because they marked their age. Often they would go off for a year or two with this archduke or that prince and their children were left in the care of friends or servants. So Chéri would have had a very lonely and disjointed childhood. He has drifted a lot, he doesn’t really have any roots and he wouldn’t have known who his father was. I saw him as a bit savage with no allegiances to anyone; a bit of a wild child. He has his freedom but he doesn’t know what to do with it.

“Madame Peloux is worried about him because he’s young and wasting himself in drink and he’s costing her a lot of money. So that’s why she has arranged to pawn him off on Léa so that she can teach him the ways of the world and also pay for his upkeep. It will keep him out of trouble and makes him marriageable and that will confer respectability on him.”

Of course marrying him off means a dowry. “She may give Léa a line about wanting grandchildren but it’s really all about money so she will be comfortable in her dotage even though she wants him to be married, respectable, in love and rich – all the things that were unavailable to her as a young woman of her profession.”

Unlike Léa de Lonval, who has the self-confidence to look towards the future and embraces the novelty of modernity beginning to influence French culture and society, Madame Peloux is still lodged firmly in the past. Unable to come to terms with her faded beauty, she overcompensates by surrounding herself with gaudy clutter that ostentatiously show off her wealth. “Her house is a museum of all the gifts she’s been given over the years, trophies of her lovers,” explains Bates.

It was not just the character of Madame Peloux and the chance to immerse herself in the period that proved such a powerful draw for Bates. It was also working with Stephen Frears.

“I was over the moon when I heard that Stephen would be directing this,” she says. “I had no rehearsal time on this film: the morning I arrived I went for costume fittings and the next day we were shooting! I was really thrown in at the deep end. I like rehearsal and preparing and here I didn’t have a feel for the era or how to move in the clothes. So I really had to trust Stephen to tell me if I had the right tone. But he was right there all the time, just underneath the camera, and he was like a conductor. All I can say is that he’s very unassuming, a lovely, very funny, self-deprecating, unique man. He brought class, intellect, wit and humour – that wry, dry British humour – to the piece. He was so much fun to work and that’s what I get to take away from the set.”

Rounding out the cast are Felicity Jones as Edmée, Chéri’s young wife who pragmatically decides to make a success of her marriage and finds in Chéri someone who understands her background; Iben Hjejle as Edmée’s cold-hearted courtesan mother Marie-Laure; and Anita Pallenberg as a former courtesan and madame of an opium den.

With the cast in place and the final pieces of the financing jigsaw provided by by Aramid Entertainment, Germany’s NRW Filmstiftung and the UK Film Council’s Premiere Fund, the film began shooting in April in Paris and Biarritz before moving to Germany’s MMC Coloneum Studios for interiors. With Tracey Seaward and Andras Hamori on board as producers, the highly acclaimed crew included cinematographer Darius Khondji (Funny Games, Se7en), composer Alexandre Desplat (The Queen, Lust, Caution, Syriana), production designer Alan MacDonald (The Queen, Kinky Boots), costume designer Consolata Boyle (The Queen), hair and make-up designer Daniel Phillips (The Queen, The Edge of Love) and editor Lucia Zucchetti (The Queen).

RECREATING THE PERIOD

One of the most generous directors when it comes to collaborating with his creative heads of department, Stephen Frears insists he relies entirely on his cinematographer and production and costume designers for how the film will look. Those who worked with him, however, know just how crucial his input was in the making of CHÉRI. Says composer Alexandre Desplat: “He says he knows nothing about the music or the design? He’s lying! Stephen has a great intuition of what the movie is aiming for and he knows exactly what will work when they’re put together. With the music, for example, he doesn’t ask me to change this chord or that note, but he says make it nastier or wilder or give it more wit. And he’s very involved.”

CHÉRI marks award-winning cinematographer Darius Khondji’s first collaboration with Frears. “Stephen is a very visual director,” says Khondji. “He has a feel of what’s right and wrong for the mood but unlike other directors he doesn’t talk about angles and camera positions. With Stephen what comes across much more clearly is the mood that the film should take.”

“We talked about the period, the mood, the atmosphere, the look,” he continues. “Our discussions embraced the work of Max Ophuls, Jean Renoir and Bertolucci’s The Conformist even though not same period as well as impressionist paintings. Colette is, after all, an impressionist writer in a way. But I never try to mimic paintings, there just has to be a subliminal reference to art, it has to haunt the mood.”

The setting of the film – 1906 when Europe was on the brink of moving into modernity – also informed Khondki’s approach. “Madame Peloux is stuck in the past whereas Léa looks forward and this contrast between their characters inspired the lighting. At Léa’s house, the camera is luminous, light and mobile, and free. But when we go to Madame Peloux’s home which is dark and oppressive and crammed with expensive but vulgar objects, the camera is static and heavy.”

Working on the film brought some surprising rewards for the cinematographer. “I didn’t know I loved shooting in Paris!” says Khondji. “Maybe it was the period setting, maybe it was Stephen’s approach, but this film was much more exciting to be involved with than others I’ve worked on.”

Alan MacDonald, who worked with Frears on The Queen, was brought on board as production designer. He plunged himself into researching the period around 1906 when the film is set and it was this that provided inspiration for the contrasting looks of Léa’s and Madame Peloux’s worlds.

“I realised that we were dealing with a time of innovation,” says MacDonald. “We think of ourself as innovators, but 100 years ago society was going through seismic changes with the proliferation of train travel, electricity, photography, cars and the telephone to name just a few innovations of the era. Madame Peloux was living through this but I saw her as living in the past, she knows what suited her and she would stay with it for ever. Léa understands the changes sweeping through society.”

Using photography as his reference for Léa’s home and impressionists, post-impressionists and symbolist painting as his reference for Madame Peloux’s house, MacDonald created the two contrasting looks of the film. Where the acquisitive Madame Peloux’s house is stuffed full of opulent, mismatched furniture and gawdy bricolage and objects d’art from the 19th century and before, Léa’s airy, elegant house reflects her exquisite taste for modern art and design.

The interior of Madame Peloux’s house, which was filmed at a chateau 20 km outside Paris, is crammed with items sourced from Parisian antique shops and props houses including stuffed birds and animal heads, velvet drapes, animal skins, gilded candelabras and vases, heavily ornate clocks and timepieces, marble tables, embroidered carpets and blankets and heavy crystal decanters. Everything smacks of someone with too much money and too little taste.

“There’s also a portrait of Madame Peloux as younger woman,” says MacDonald, “and it shows what a great beauty she was but it’s now a shrine to her youth and a reminder to the audience of the power her beauty represented.”

Léa’s home could not be more different. MacDonald and his team were fortunate to have as their main location the villa designed and owned by Hector Guimard, the architect who designed the iconic art nouveau entrances to the stations of the Paris Metro.

“Léa has moved with the times,” explains MacDonald, “she has embraced the modernity of art nouveau. Where Madame Peloux’s house looks enormous from outside but has tiny rooms, Léa’s has a more open-plan, fluid feel with large, spacious rooms. Maison Guimard was one of first houses with central heating, so there are no fireplaces which allowed architects to open up rooms and allows light to lead from one room to the next through french doors.”

The design of the room reflects Léa’s love of modernity. Rather than paintings adorning the walls, MacDonald used wall paper – reproduced from original contemporary designs and in calming pastel colours of lilacs, greys and blues – and the occasional understated wall decoration. Because Léa has been freed from the constraints of the tight corset and bustle, the furniture is more relaxed with simple shapes and elegant lines. MacDonald also used plants and flowers to decorate the interiors, reflecting a contrast with the dead animals in Madame Peloux’s mansion.

Léa’s boudoir, where so much of the film is set, was recreated at the MMC Coloneum Studios in Germany, where MacDonald designed the beautiful art nouveau bed.

Locations also included the Hotel du Palais in Biarritz, where Léa escapes, and in Paris the Hotel Regina, Saint Etienne du Mont, the church where Chéri and Edmée get married, and the legendary Maxim’s restaurant which doubled for the Restaurant Dragon Bleu, where Chéri spends his evenings with his best friend Vicomte Desmond.

Costume Designer Consolata Boyle also took her cue from the contrast between the two female protagonists of the film. “There’s a simplicity to Léa’s look,” says the designer, “and the cool, empty space of her home shows her confidence. She’s a woman of wonderful taste and not encumbered by things. She has it all but doesn’t have to flaunt it. Peloux, meanwhile, sees things as a sign of her success and status. “

Inspired by her research into impressionist painting, Boyle designed all the costumes for the main characters. While Madame Peloux’s gowns are heavy, dark and richly embroidered and she wears big, showy hats, Léa’s style is unfussy and cooler and shows off the clarity and beauty of her silhouette.

Boyle worked closed with hair and make-up designer Daniel Phillips whose research underlined the fashion for hats during the period. The soft hairstyles of the period were exaggerated for Madame Peloux while he went for a prettier, more subdued style for Léa inspired by the paintings of Gustav Klimt.

For the elusive Chéri, meanwhile, Boyle took her inspiration not only from his physical beauty but from the world of ballet, music, theatre and culture that Léa introduces him to. “The type of young man in Paris at that time had an obsession with clothes, with finishing and fabrics, and they were very sophisticated. In essence, he’s a dandy.”

The final element of the film was provided by composer Alexandre Desplat, whose score for The Queen won him an Academy Award for Best Music. He took his inspiration from the music of the early 20th century in France – a fruitful period which saw the rise of Saint-Saëns, Debussy and Ravel – as well as the Orientalism and mysticism that was informing art and culture at the time, Desplat created a score that combines the refinement of French composition with the exoticism of Chinese violins.

“The best score brings out the emotions that aren’t obvious on the screen,” explains Desplat. “The character of Chéri is melancholic, sensitive and closed off and he doesn’t know about life, he goes with the flow and is not very active except sexually, of course. The music has to bring out the sensuality to the film – after all, it’s about a boy of 19 who knows little but has considerable sexual power and a woman in her 40s who’s an expert in sexual matters.

“It’s an intimate film too,” he continues, “so the orchestra can’t be too intrusive. I used a small orchestra of 50-70 musicians and half the score is just strings and I brought in a string trio with the viola as lead playing on a higher register which gives it a darker sound.”

It was not just the screenplay that inspired Desplat. He was moved by the interplay between the film’s two leads. “Michelle Pfeiffer and Rupert Friend have a very strong chemistry,” he says, “and I wouldn’t have been able to write the score without the subtlety and emotion of their acting.”

THE COURTESANS ~ A BRIEF GUIDE

Known as the grandes horizontales, courtesans in late 19th century Paris were the height of fashion.

Renowned throughout the world for their beauty, wit, conversation and skill, these demi-mondaines were at the centre of Parisian social and political life, entertaining the most powerful men in government, royalty and the arts, but remaining cut off from the mainstream in an exclusive closed-off world.

They influenced fashion, lived ostentatious life styles that showed off the wealth of their lovers and were hotly in demand among the richest of Europe’s aristocracy who would compete to enjoy their favours.

Of course, those favours did not come cheap and the most famous courtesans amassed vast wealth through sensible investments and judicious acqusitions of property and assets. Personality and beauty were their only commodities and the shrewdest knew that their status would only last as long as their looks.

Among the most famous courtesans of the time were Apollonie Sabatier whose salon welcomed intellectuals such as Baudelaire and Flaubert, Marie Duplessis who was immortalised in Alexandre Dumas fils play La Dame Aux Camélias, Esther Pauline Lachmann who became known as La Paiva and married Count Henckel von Donnersmark, and English-born Cora Pearl whose lovers included Prince Napoleon.

ABOUT THE CAST

MICHELLE PFEIFFER plays Léa de Lonval, the courtesan whose exceptional beauty, refinement and charm has made her a rich woman. When she falls in love with Chéri, the young son of a friend who has entrusted her with his education, she is forced to face up to her vulnerabilities.

Michelle Pfeiffer first caught the attention of critics and the public in Brian de Palma’s Scarface (1983) alongside Al Pacino, since then she been nominated three times at the Academy Awards – as Best Actress for The Fabulous Baker Boys (1990) and Love Field (1993) and as Best Supporting Actress for Dangerous Liaisons (1989). Dangerous Liaisons was also her first collaboration with director Stephen Frears and writer Christopher Hampton.

Her credits also include Hairspray (2007) opposite John Travolta, Queen Latifa and Amanda Bynes, Stardust (2007) with Claire Danes and Robert DeNiro, White Oleander (2002) opposite Renee Zellweger and Robin Wright Penn, I Am Sam (2001) with Sean Penn, and What Lies Beneath (2000) alongside Harrison Ford.

She has also starred in The Story Of Us (1999) with Bruce Willis, A Midsummer Night’s Dream (1999), One Fine Day (1996) alongside George Clooney, Up Close And Personal (1996) with Robert Redford, Dangerous Minds (1995), Wolf (1994) with Jack Nicholson, and The Age Of Innocence (1993) which co-starred Daniel Day-Lewis and was directed by Martin Scorsese.

Her credits also include Batman Returns (1992), Frankie And Johnny (1991) which marked her second on-screen partnership with Al Pacino, The Russia House (1990) alonside Sean Connery, Married To The Mob (1988) co-starring Alec Baldwin and directed by Jonathan Demme, Tequila Sunrise (1988) with Mel Gibson and Kurt Russell, The Witches Of Eastwick (1987) with Jack Nicholson, Cher and Susan Sarandon, Sweet Liberty (1986) and Ladyhawke (1985).

KATHY BATES plays Madame Peloux, mother of Chéri and friend and former colleague of Léa de Lonval. She has amassed a considerable fortune and lives like a queen, but is keenly aware that she has lost her beauty – and the power it gave her over men and other courtesans – this has turned her into a bitter, destructive middle-aged woman.

Kathy Bates has been honored numerous times for her work on stage, screen and television. She won an Academy Award and a Golden Globe for her portrayal of the obsessed fan, Annie Wilkes, in Rob Reiner’s Misery (1990). She received Oscar, Golden Globe and BAFTA nominations and won Screen Actors Guild (SAG) and Critics’ Choice Awards for her performance in Mike Nichols’ Primary Colors (1999). Bates earned her third Oscar and Golden Globe nominations for Alexander Payne’s About Schmidt (2002), for which she also garnered a SAG Award nomination and won the National Board of Review Award for Best Supporting Actress. In addition, she received Golden Globe and BAFTA nominations for her work in Fried Green Tomatoes (1991).

Some of the additional films Kathy has starred in are: Revolutionary Road (2008) with Leonardo DiCaprio and Kate Winslet, The Day The Earth Stood Still (2008) with Keanu Reeves and Jennifer Connelly, the Academy Award-winning blockbuster Titanic (1997), Dolores Claiborne (1995) and Fried Green Tomatoes (1991) with Jessica Tandy.

She has also provided voices for family films including Charlotte’s Web (2006), The Golden Compass (2007) and The Bee Movie (2007).

She has enjoyed a fruitful television career, too, starring in such acclaimed productions as the hit HBO television series Six Feet Under as well as the TV Movie Ambulance Girl, Warm Springs, Annie and HBO’s The Late Shift for which she won a Golden Globe for Best Supporting Actress in 1997.

RUPERT FRIEND plays Chéri, the bored, spoilt son of former courtesan Madame Peloux. Just 19 years old when he becomes Léa de Lonval’s charge, Chéri learns the true meaning of love when six years later he is forced to make a choice between Léa and the young woman his mother has chosen to be his wife.

Rupert Friend trained at the Webber Douglas Academy of Dramatic Art in London. He was named Outstanding New Talent at the 2005 Satellite Awards and was also nominated Best Newcomer at the British Independent Film Award.

He first came to the public’s attention as Mr Wickham in the 2005 adaptation of Pride And Prejudice opposite Keira Knightley and directed by Joe Wright. He also appeared with Johnny Depp in The Libertine (2004). Other film credits include Outlaw (2007) directed by Nick Love, The Moon And The Stars (2007) with Jonathan Pryce and Alfred Molina and directed by John Irvin, The Last Legion (2007) with Ben Kingsley and Colin Firth directed by Doug Lefler, Mrs Palfrey At The Claremont (2005) opposite Joan Plowright and David Leland’s Virgin Territory (2007).

Most recently he appeared in Dan Ireland’s Jolene (2008), Mark Herman’s The Boy In The Striped Pyjamas (2008). And he also has the Young Victoria coming out in which he stars opposite Emily Blunt directed by Jean Marc Vallee (2009).

FELICITY JONES plays Edmée, the daughter of the courtesan Marie-Laure and wife of Chéri. Less fragile than she appears, Edmée knows she must make a success of her arranged marriage.

One of the UK’s most promising newcomers, Felicity Jones came to public attention in last year’s Brideshead Revisited (2008) opposite Emma Thompson, Matthew Goode and Ben Whishaw. She also co-starred opposite Daniel Craig in Flashbacks of a Fool (2008). She is currently filming The Tempest with Helen Mirren.

On television, she has starred in Cape Wrath and Northanger Abbey and has enjoyed a successful theatre career including the critical hit That Face at London’s Royal Court and the Chalk Garden at the Donmar.

IBEN HJEJLE plays Marie-Laure, a successful courtesan who can’t wait for Edmée and Chéri’s wedding day when she can be free to work without the inconvenience of having a daughter to look after.

Denmark’s Iben Hjejle has had a successful career both in American and British films since she first hit the international spotlight in Soren Kragh- Jacobsen’s Mifune in 1999. She worked with Stephen Frears in her first major English-language film High Fidelity (2000) opposite John Cusack and Jack Black, and her credits also include the award-winning Skaggerak (2003), Dreaming Of Julia (2003) with Harvey Keitel and Gael Garcia Bernal and The Emperor’s New Clothes (2001) alongside Ian Holm.

She was most recently seen in Edward Zwick’s Defiance (2008) which starred Daniel Craig, Liev Schreiber and Jamie Bell.

ABOUT THE CREW

STEPHEN FREARS – Director

Stephen Frears is one of the UK’s most critically-acclaimed directors who has worked with some of the UK’s best talent both in front of and behind the cameras. His most recent triumph was The Queen (2006) which won Helen Mirren a Best Actress Academy Award and for which Frears was nominated for numerous directing awards around the world including an Academy Award, BAFTA and Golden Globe. The film also became a box office hit after its launch at the Venice International Film Festival.

Frears began his career at London’s Royal Court Theatre, where he worked with director Lindsay Anderson, and moved into the film industry in 1966 as an assistant director to Karel Reisz. He made his directorial debut with Gumshoe (1971), a wry homage to film noir starring Albert Finney. After several acclaimed television productions and the cult feature film The Hit (1984) which starred John Hurt and Tim Roth, his breakthrough came in 1985 with My Beautiful Laundrette which launched the careers of Daniel Day-Lewis and writer Hanif Kureishi who was nominated for Best Original Screenplay Academy Award. Frears and Kureishi reteamed on Sammy and Rosie Get Laid (1987) which like My Beautiful Laundrette looked at many of the issues that characterised Britain in the 1980s.

Frears went on to direct Prick Up Your Ears (1987) about English playwright Joe Orton, starring Gary Oldman and Alfred Molina, and then made Dangerous Liaisons written by Christopher Hampton and starring Michelle Pfeiffer, John Malkovich and Glenn Close. An adaptation of Choderlos de Laclos‘ caustic Les Liaisons Dangereuses the film triumphed at the Academy Awards in 1989 winning Best Adapted Screenplay Academy Award, Best Costumes and Best Art Direction, as well as nominations for Best Actress for Close, Best Supporting Actress for Pfeiffer, Best Picture and Best Music.

Frears was again nominated for an Academy Award for Best Director the following year for The Grifters (1990) which starred John Cusack, Anjelica Huston and Annette Bening. He then made Hero (1992) starring Dustin Hoffman and Geena Davis, Mary Reilly (1996) starring Julia Roberts and John Malkovich and two low-budget adaptations of novels by Roddy Doyle, The Snapper (1993) and The Van (1996). Then came The Hi-Lo Country (1998) starring Woody Harrelson, Billy Crudup, Penélope Cruz and Patricia Arquette, and the acclaimed High Fidelity (2000) based on Nick Hornby‘s popular novel and starring John Cusack, Jack Black and Iben Hjejle.

He returned to the small screen in 2000 with Fail Safe starring George Clooney and Harvey Keitel, and directed Liam in the same year. In 2002, his drama-thriller Dirty Pretty Things was an arthouse and festival hit and launched the career of Chiwetel Ejiofor as well as earning an Academy Award nomination for Best Original Screenplay. The political drama The Deal, which Frears made for Channel 4 in 2003, paved the way for The Queen, and he followed that in 2005 with the historical drama Mrs Henderson Presents which starred Judi Dench and Bob Hoskins.

CHRISTOPHER HAMPTON – Screenwriter

One of the UK’s most esteemed contemporary playwrights, Christopher Hampton is perhaps best known in film for his Academy Award-winning screenplay for the hit film Dangerous Liaisons (1988). Hampton adapted this from his own play and marked his first collaboration with Stephen Frears and Michelle Pfeiffer. His screenplay for Atonement, adapted from Ian McEwan’s acclaimed novel and directed by Joe Wright, Atonement starred Keira Knightley and James McAvoy and became a box office hit in 2007. It was nominated for a slew of Academy Awards including Best Picture, Best Supporting Actress for newcomer Saoirse Ronan and Best Adapted Screenplay for Hampton himself and won the Academy Award for Best Music.

Hampton began his career in the theatre and one of his first hits was When Did You Last See My Mother at London’s Royal Court Theater in 1966 when he was just 20 years old. During his residency at the Royal Court he adapted classic literature for the stage and wrote original plays including Total Eclipse about the relationship between the poets Rimbaud and Verlaine, The Philanthropist (1970), Savages (1973) and Treats (1976). His stage adaptation of Choderlos de Laclos’ Les Liaisons Dangereuses brought him international acclaim.

He made his feature debut with the screenplay for Ibsen’s A Doll’s House (1973) and went on to write a number of films and TV dramas including The History Man (1981), The Honorary Consul (1983) and Hotel Du Lac (1986). A sojourn in Los Angeles inspired the 1980 stage hit Tales From Hollywood about European exiles working in the American film business which he later adapted for BBC Television.

He made his film directing debut with Carrington (1995) starring Emma Thompson and Jonathan Pryce which he also wrote, and went on to direct The Secret Agent (1986) and Imagining Argentina (2003). His screenwriting credits also include the film version of Total Eclipse (1995), Mary Reilly (1996), which marked his second collaboration with Stephen Frears, and The Quiet American (2002) for director Philip Noyce.

Hampton’s stage work also includes the critical and commercial hit Art (1996) which he translated from the play by Yasmine Reza, and the libretto for Andrew Lloyd Webber’s stage adaptation of Billy Wilder’s Sunset Boulevard, which won two Tony Awards in 1995.

BILL KENWRIGHT – Producer

Bill Kenwright is one of the world’s most prolific and successful theatre impresarios. His recent productions in London’s West End include The Vortex (Apollo), Absurd Person Singular (Garrick), Joseph and the Amazing Technicolor Dreamcoat (Adelphi), The Letter (Wyndham’s), Treats (Garrick), The Glass Menagerie (Lyric), Cabaret (Lyric), Canterbury Tales (Gielgud), Hay Fever (Haymarket), Whistle Down the Wind (Palace), Night Of The Iguana (Lyric), Scrooge (London Palladium), A Few Good Men (Haymarket), The Big Life (Apollo), Elmina’s Kitchen (Garrick), Festen (Lyric), Man and Boy (Duchess), We Happy Few (Gielgud), Judi Dench in Hay Fever (Haymarket) All’s Well That Ends Well (RSC Gielgud),The Taming of the Shrew and The Tamer Tamed (RSC – Queen’s), Tell Me on a Sunday (Gielgud), the RSC Jacobean season (Gielgud), Home and Beauty (Lyric) and Via Dolorosa (Duchess).

On Broadway his successes include a string of Tony award-winning productions including Dancing at Lughnasa (Garrick and Plymouth Theatre), Medea with Diana Rigg (Wyndham’s and Longacre Theatre, Broadway), Ibsen’s A Doll’s House (Belasco Theatre, Broadway), and Theatre de Complicite’s production of lonesco’s The Chairs (Golden Theatre, Broadway).

Willy Russell’s Blood Brothers, produced by Kenwright, is in its 21st year in the West End at the Phoenix Theatre, it also ran for three years at the Music Box Theatre on Broadway and received seven Tony nominations.

As a director Kenwright was responsible for Whistle Down the Wind (London Palace, UK tour & USA tour), Joseph and the Amazing Technicolor Dreamcoat (New London and UK tour), Jesus Christ Superstar (UK tour) and Blood Brothers (Phoenix and UK tour). He was nominated for a London Theatre Critics’ Award for West Side Story at the Shaftesbury and a Tony Award for Blood Brothers in New York.

His films include The Day After The Fair (1987), Stepping Out (1991), Don’t Go Breaking My Heart (1999), Sundance Festival award-winner Die Mommie Die (2003) and The Purifiers (2004).

ANDRAS HAMORI – Producer

Andras Hamori has worked with some of the world’s most celebrated directors on a string of films that have won recognition around the world these include two Academy Award nominations, three Golden Globe awards and major prizes at the Cannes, Venice, Berlin and Toronto Film Festivals.

His films include Big Nothing (2006) starring David Schwimmer and Simon Pegg, Lajos Koltai’s acclaimed Fateless (2005), Menno Meyjes’ Max (2002) starring John Cusack, Owning Mahowny (2003) starring Philip Seymour Hoffman, Minnie Driver and John Hurt, The 51st State (2001) starring Samuel L Jackson and Robert Carlyle, Sunshine (1999) starring Ralph Fiennes and directed by Istvan Szabo which won Best Picture at the Canadian Academy Awards, and eXistenZ (1999) starring Jude Law and Jennifer Jason Leigh and directed by David Cronenberg.

He also executive produced Jeremy Podeswa’s Fugitive Pieces (2007), Lynne Ramsay’s Morvern Callar (2002), Atom Egoyan’s The Sweet Hereafter (1997) and David Cronenberg’s Crash (1996).

TRACEY SEAWARD – Producer

Tracey Seaward collaborated with Stephen Frears on Dirty Pretty Things (2002) recipient of many nominations for international awards including BAFTA, Mrs Henderson Presents (2005) and The Queen (2006) for which she received the BAFTA for Best Film and an Academy Award nomination. Her credits include David Cronenberg’s Eastern Promises (2007), Fernando Meirelles’ The Constant Gardner (2005), Danny Boyle’s Millions (2004), Neil Jordan’s The Good Thief (2002) and Pat Murphy’s Nora (2000).

DARIUS KHONDJI – Cinematographer

Iran-born Darius Khondji is one of the world’s most respected cinematographers. Since he burst onto the international scene with his imaginative work on Delicatessen (1991), he has worked with the world’s top directors on a series of acclaimed features including David Fincher’s Se7en (1995), Bernardo Bertolucci’s Stealing Beauty (1996), Alan Parker’s Evita (1996), Jean-Pierre Jeunet’s Alien: Resurrection (1997), Roman Polanski’s The Ninth Gate (1999) and Danny Boyle’s The Beach (2000).

He reteamed with David Fincher on Panic Room (2002), and worked on Sydney Pollack’s The Interpreter (2005), Wong Kar-wai’s My Blueberry Nights (2007) and Michael Haneke’s Funny Games US as well as The Ruins (2008).

Khondji was nominated for both an Academy Award and a BAFTA for his work on Evita.

ALAN MACDONALD – Production Designer

Alan MacDonald first collaborated with Stephen Frears on the Academy Award-winning The Queen in 2006.

He has also worked often with John Maybury including Man to Man in 1992 which starred Tilda Swinton, Love Is The Devil (1998), The Jacket (2005) and The Edge Of Love (2008) which starred Keira Knightley and Sienna Miller.

Alan was responsible for the distinctive looks of Rogue Trader (1999) directed by James Dearden, Kinky Boots (2005) directed by Julian Jarrold, Nora (2000) directed by Pat Murphy and 51st State (2001) directed by Ronny Yu.

CONSOLATA BOYLE – Costume Designer

Consolata Boyle has worked with Stephen Frears four times prior to CHERI – on The Queen (2006), for which she was nominated for both an Academy Award and BAFTA for Best Costumes, The Van (1996), Mary Reilly (1996) and The Snapper (1993).

Her credits also include Ol Parker’s Imagine Me & You (2005), David Mackenzie’s Asylum (2005), Andrei Konchalovsky’s The Lion In Winter (2003) for which she won an Emmy, Pat Murphy’s Nora (2000), David Mamet’s Catastophe (2000), Alan Parker’s Angela’s Ashes (1999) for which she won an Irish Film and Television Award, Pen Densham’s Moll Flanders (1996), Thaddeus O’Sullivan’s Nothing Personal (1995) and Mike Newell’s Into The West (1992).

DANIEL PHILLIPS – Make-up Designer

Award-winning hair and make-up designer Daniel Phillips spent eight years at the BBC honing his craft in the make-up department on a host of period and contemporary film and studio based projects. His recent television credits include The Other Boleyn Girl (2003), He Knew He Was Right (2004), Tsunami: The Aftermath (2006) and Bleak House for which he won an Emmy in 2006.

He first worked with Stephen Frears on The Queen (2006), for which he was nominated for a BAFTA. His recent film credits include John Maybury’s The Edge Of Love (2008) starring Keira Knightley and Sienna Miller, Saul Dibb’s The Duchess (2008) starring Keira Knightley, Ralph Fiennes, Charlotte Rampling and Hayley Atwell, Nicholas Hytner’s The History Boys (2006) and Roger Michell’s Venus (2006) starring Peter O’Toole and Leslie Phillips.

LUCIA ZUCCHETTI – Editor

CHÉRI marks Lucia Zucchetti’s fourth collaboration with Stephen Frears following The Deal (2003), Mrs Henderson Presents (2005) and The Queen (2006).

One of the most discerning editors working in the UK, she made her feature debut with the award-winning Ratcatcher (1999) directed by Lynne Ramsay, and since then she worked again with Ramsay on Morvern Callar (2002), with John Crowley on Intermission (2003) and the acclaimed television drama Boy A (2007), for which she won a BAFTA, and with Michael Radford on The Merchant Of Venice (2004).

ALEXANDRE DESPLAT – Composer

Alexandre Desplat was nominated for an Academy Award for his work on Stephen Frears’ The Queen (2006).

His compositions have graced critical and commercial hits including David Fincher’s The Curious Case Of Benjamin Button (2008), Chris Weitz’s The Golden Compass (2007), Ang Lee’s Lust, Caution (2007), Stephen Gaghan’s Syriana (2005), Lasse Hallstrom’s Casanova (2005), Jacques Audiard’s The Beat That My Heart Skipped (2005), Jonathan Glazer’s Birth (2004) and Peter Webber’s Girl With A Pearl Earring (2003).