‘Cheri’ doesn’t rise to the level of it’s namesake novel

The makers of today’s period drama of risky romantic gamesmanship, as adapted from famous French literature, did the same thing better together in 1988. But even though “Cheri” doesn’t have nearly the biting wit, narrative intrigue or emotional punch as their “Dangerous Liaisons” — a grand enacting of 18th century lust/love that became one of the best films of the last 25 years — this one still provides some visual delights and tender diversions.

Director Stephen Frears, screenwriter Christopher Hampton and star Michelle Pfeiffer reunite for this first English-language feature adaptation of Colette’s 1920 novel. “Cheri” is about the unexpectedly poignant affair between a once detached, aging courtesan Lea (Pfeiffer) and a much younger Parisian bon vivant (the title character played by Rupert Friend, Keira Knightley’s real life squeeze) during the idyllic Belle ƒpoque before World War I changed everything.

Considering what appears to be a relatively low budget, the filmmakers make the most of it with absolutely gorgeous costumes and sets. During lulls in the story — which moves slowly, lacks subplots and doesn’t quite gel emotionally until late in the proceedings — the production’s beauty and the numerous sensual bed scenes between Pfeiffer and Friend help to keep one pleasantly distracted. The co-stars certainly look pretty as a couple even if neither of them gives a particularly memorable acting performance.

Lea is age 43 and her spoiled pet “Cheri” aka Frederick Peloux is only 19 when the two first take up together. They do it to spite his scheming mother (Kathy Bates), Lea’s “frenemy,” and to pass the time. But though both have been experts at using love to control others, they find themselves devastated and at its mercy when Cheri ends the relationship after six years to get married to a suitable mademoiselle (Felicity Jones).

“Cheri” was one of my favorite books when I was in school. It was naughty and wrenching and transporting to me as a teenage girl. Adding to the attraction, the writer Colette (best known for “Gigi”) led a life every bit as notorious and absorbing as her characters.

This screen version doesn’t really capture her uniquely aware perspective on the private pain and furtive pleasures of parlor room Europe around the turn of the 20th century. But, in the end, it does show the tragedy of what happens when a beautiful woman gets old and when true love can’t work.