The A list supporting character actor George Sanders stole more than his share of big pictures with considerable less screen time than the leads he was usually berating in the most polished fashion. In the rare moments he had the lead such as The Moon and Sixpence and here in The Private Affairs of Bel Ami where he displayed a highly impressive ability like no other for he was the ultimate cad.
Down on his luck former army officer and ladies man George Duroy (Sanders) encounters an old dying comrade (John Carradine) who gains him an invitation to a party of sophisticates and power brokers where he charms the women to no end. Through his contact at the soiree with a publisher he gains employment at a newspaper. Filled with ambition and possessed of a keen wit he makes his way up the ladder with seduction playing a key factor. Brimming with confidence he seeks a title through vacancy but ends up on a field of honor instead.
Few films far more celebrated in this period hold up today as well as the underrated at the time Bel Ami. Director Albert Lewin writes and directs a highly literate script filled with piercing dialogue by a host of 19th Century sophisticates exhibiting all of the capital sins with touches of virtue here and there. The dinner scene crackles with intensity, economically establishing character and motive early as Duroy cooly sizes everyone up. Sharply edited and photographed (Russell Metty) it rates with some of the best table talk to come out of this film period in an understated style and form that Lewin conveys throughout the film exemplified in another stunning scene beautifully composed where his benefactor is dying, the wife bedside, the anxious Duroy present, waiving grieving period to immediately make his intentions known.
Sanders was made to play the amoral Duroy and he does to perfection as eviscerates those around him with mellifluous contempt. " One thing I hate in other people is their hypocrisy," he claims, feeling his is justified. It is the best role of Sander's impressive career. There's half a dozen excellent supporting roles of victims of his seduction and betrayal that balance Sanders, especially the restrained performances of Ann Dvorak as his cold equal and Katherine Emery who serves her revenge with a sober gloat and just in time.
A well done film in every aspect but without the juice of the big star, it's cynical theme and protagonist lacking little appeal, probably ignored in its day for the more formulaic. But like a fine wine it has aged well.
Down on his luck former army officer and ladies man George Duroy (Sanders) encounters an old dying comrade (John Carradine) who gains him an invitation to a party of sophisticates and power brokers where he charms the women to no end. Through his contact at the soiree with a publisher he gains employment at a newspaper. Filled with ambition and possessed of a keen wit he makes his way up the ladder with seduction playing a key factor. Brimming with confidence he seeks a title through vacancy but ends up on a field of honor instead.
Few films far more celebrated in this period hold up today as well as the underrated at the time Bel Ami. Director Albert Lewin writes and directs a highly literate script filled with piercing dialogue by a host of 19th Century sophisticates exhibiting all of the capital sins with touches of virtue here and there. The dinner scene crackles with intensity, economically establishing character and motive early as Duroy cooly sizes everyone up. Sharply edited and photographed (Russell Metty) it rates with some of the best table talk to come out of this film period in an understated style and form that Lewin conveys throughout the film exemplified in another stunning scene beautifully composed where his benefactor is dying, the wife bedside, the anxious Duroy present, waiving grieving period to immediately make his intentions known.
Sanders was made to play the amoral Duroy and he does to perfection as eviscerates those around him with mellifluous contempt. " One thing I hate in other people is their hypocrisy," he claims, feeling his is justified. It is the best role of Sander's impressive career. There's half a dozen excellent supporting roles of victims of his seduction and betrayal that balance Sanders, especially the restrained performances of Ann Dvorak as his cold equal and Katherine Emery who serves her revenge with a sober gloat and just in time.
A well done film in every aspect but without the juice of the big star, it's cynical theme and protagonist lacking little appeal, probably ignored in its day for the more formulaic. But like a fine wine it has aged well.