In the 1880's, a handsome rake schemes his way to the top of French society leaving a trail of exploited women in his wake.I was about to slam Sanders' performance as a wooden one-note. Note how in the many close-ups his expression rarely changes, conveying little or no emotion, regardless the situation. Then it occurred to me. That's exactly right for such a heartless egotist as Duroy. In fact, he feels no emotion. Instead he's a walking calculator in the way he uses people. In place of warmth or animated charm, he seduces women with a strongly masculine presence and complete self-assurance, which Sanders conveys, in spades. Note too, how in the dueling scene, Duroy looks on impassively while his opponent musters strength to shoot him. Now a lack of emotion while staring death in the face is either evidence of an iron will or a simple lack of feeling. Of course, as an actor, Sanders can emote subtly or otherwise when called upon, as his lengthy career shows. So I figure his impassive manner in this movie is intended to define Duroy's character, and is not a deficiency on either the actor's or director's part.Anyway, the movie itself amounts to a triumph of parlor room refinement. I especially like Lansbury. Her baby-face Clotilde provides enough meaningful emotion to engage the audience in ways that Duroy does not. In fact, the actresses, including a poignant Marie Wilson, are all well cast. Still, pairing the 40-year old Sanders with a girlish Douglas, half his age, amounts to a real stretch. But catch some of those parlor room sets that are doozies. The one with the checkered floor and striped wall had me cleaning my glasses. Overall, it's an oddly affecting morality play, with a style and taste that make even the painted backdrops somehow appropriate. Too bad this was the great Warren William's (Laroche) last movie. In terms of a commanding presence, he and Sanders belong together, as William's pre-Code films abundantly show. Nonetheless, this is one of the few features of the time to make a thoroughly dislikable character the central figure. And that took some guts. No wonder the film was an independent production.

In 1956, George Sanders made one of his best films, "Death of a Scoundrel". I mention this because in many ways, "The Private Affairs of Bel Ami" is very similar--though not quite as satisfying and amoral. Both stories star Sanders and both feature him as a schemer--a man who uses people (especially women) and casts them aside when it suits his best interests--and his main interests are power and money.When the film begins, Sanders is almost broke and with a low-paying job. However, when an old friend (John Carradine) meets him in a café, he offers to help him get a job on his newspaper--a chance for more money and to meet the right people. And, slowly, Sanders begins to work his way upwards--mostly by marrying or wooing the right women. The most fascinating was when his friend died--and just seconds later, he proposes to the widow! And, to make it worse, the body is lying next to them! This sort of thing and much more make up the rest of the film--an entertaining soap opera throughout. My only reservation is that the latter film is just a lot better--with less slow moments and a character who is even more unlikable and scheming! By the way, a scene to look for is when they unveil 'The Temptation of St. Anthony'. The painting is in full color within a black & white film--like the picture in "The Portrait of Dorian Gray". Because of this, it's VERY striking--especially with its very intense reds. This an other versions of this scene (it was a popular theme during the Renaissance) are very disturbing to see for the average person--but also very compelling and emotive.

an adaptation. and a great cast. perfect choice for Georges Duroy character. a subtle, precise, impressive George Sanders in one of his magnificent roles. so, the key is not manner to adapted the novel of Maupassant but the art of each actor. because this movie is scene for a lot of stars. the story is old but the play is new. the novel is French and the science of details and nuances makes this American movie fruit of French cinema. the tale of Bel Ami is, in great measure, grace of Sanders and his partners, slice of Dorian Gray. it is not a masterpiece but it is a very interesting lesson. to define a world, to discover a book, to escape from Nick Ormerod last adaptation spell. a film as old yellow picture. good beginning to visit a world, to joy with drops of old fashion cinema style, to rediscover few crust of emotions and reflection to our small and bleak world.

If this ISN'T the film where George Sanders patented the 'cad' that was to prove something of a signature then it should be as he brings it off to a fare-thee-well. Albert Lewin seemed almost alone in Hollywood in the forties in that he seemingly blended the set decorator taste of Mitchell Liesen with the style of Ernst Lubitsch in a mini canon of sophisticated films ranging from The Moon and Sixpence to Pandora and the Flying Dutchman via The Picture of Dorian Gray and this entry. The now rare sighting of Ann Dvorak is welcome as is the presence of Marie Wilson, still two years away from celebrity as My Friend Irma. John Carradine, in a less showy part than was his wont also scores heavily as the doomed friend who, with the best of intentions, starts Sanders on the slippery slope to cad-ism. It was also the last film of Warren Willian who had, in his time, played both Philo Vance and Perry Mason. Well worth a look.