Full of exotic language and formal settings, Cheri is a film that represents art more than actual entertainment. Michelle Pfeiffer and Kathy Bates both give brilliant performances as famous courtesans Charlotte and Lea respectively; though sadly, by the film's end, the lackluster story has overpowered both of them, giving the film a foul aroma and feel.
Slow and tranquil, the film starts off steadily. Pfeiffer plays Lea, a courtesan who is hired by a retired-rival (Bates) to show her son the ways of love. What starts off as a job ends in a passionate love affair that expands over six years as Lea and Cheri surge into one. The love and longing run deep for the two; until an arranged marriage between Cheri and a well-off young girl marks the end to their time together.
It is at this point that the film finally starts to take off. Pfeiffer, in what can only be described as the most interesting and mature character of her acclaimed career, rises to the occasion as she exerts an unseen amount of hidden emotion and longing. Her delivery, hesitant and unnatural, allows the audience to feel her pain. It is a rare moment in film, but for a short stint, her troubles become yours as you sit through the agony of a broken heart.
The highlight of the entire film comes shortly after Cheri's exit. It is then that Lea must experience her first night alone, and her short tone and insistence for air marks the suffocation that she feels without her mate at her side. The instant is short and subtle, but its effect marks the first time that we see a personal side to one of our leads.
Sadly, while Pfeiffer thrived, Rupert Friend didn't. Portraying a young, inexperienced boy, Friend uses childish mannerisms to convey immaturity, an act that showed his demise early on. Throughout the picture, he is constantly upstaged by both of his female co-stars, making him nothing more than a mere afterthought. It is a shame too, for anytime a movie is titled for a particular character, you would hope that said character would be a commanding and integral part to the feature. Unfortunately, here it is not the case.
Even during the film's third act, when there is a possibility of the two rejoining in a romantic reunion, there is no fire or passion. The scenes don't shine like they would in other dramas, lacking that extra kick in terms of emotion and on-screen chemistry. You foresee the conclusion, and surprisingly, you aren't upset with the eventual outcome. This makes you wonder just how attached to either of these character you ever were. Soon thereafter, without any warning or closure, the film ends.
Overall, Cheri is a beautiful film to look at and Pfeiffer is a treat unlike any other. However, in terms of its overall components, it lacks substance and a true body. It is a hollow formation, vulnerable at every turn. Much like its featured relationship, its outward appearance is entirely defused by its internal longing for acceptance.
