What do you think?
Rate this book
Les Liaisons Dangereuses
The scandalous reputation of Laclos's novel, first published in 1782, is based on its chilling portrayal of the mannered decadence and sexual cynicism of the French aristocracy in the last years of the ancien regime. Christopher Hampton has made a masterful adaptation for the stage of the conspiracy to corrupt a young girl barely out of her convent.
112 pages, Paperback
First published September 2, 1985
24 people are currently reading
416 people want to read
About the author
Christopher Hampton
110 books23 followersChristopher James Hampton CBE, FRSL is a British playwright, screen writer and film director. He is best known for his play based on the novel Les Liaisons dangereuses and the film version Dangerous Liaisons (1988) and also more recently for writing the nominated screenplay for the film adaptation of Ian McEwan's Atonement.
Hampton became involved in the theatre while studying German and French at Oxford University where OUDS performed his play When Did You Last See My Mother?, about adolescent homosexuality, reflecting his own experiences at Lancing College, the boarding school he had attended. The play was performed at the Royal Court Theatre in London, and that production soon transferred to the Comedy Theatre, resulting in Hampton, in 1966, becoming the youngest writer to have a play performed in the West End in the modern era.
From 1968-70 he worked as the Resident Dramatist at the Royal Court Theatre, and also as the company's literary manager. Hampton won the Academy Award for Best Adapted Screenplay in 1988 for the screen adaptation of his play Dangerous Liaisons. He was nominated again in 2007 for adapting Ian McEwan's novel Atonement. Hampton forthcoming project is the translation into English of Michael Kunze & Sylvester Levay's Austrian musical Rebecca based on Daphne du Maurier's book which is scheduled to premiere in 2009 in Canada, and then move to Broadway in 2010.
Hampton became involved in the theatre while studying German and French at Oxford University where OUDS performed his play When Did You Last See My Mother?, about adolescent homosexuality, reflecting his own experiences at Lancing College, the boarding school he had attended. The play was performed at the Royal Court Theatre in London, and that production soon transferred to the Comedy Theatre, resulting in Hampton, in 1966, becoming the youngest writer to have a play performed in the West End in the modern era.
From 1968-70 he worked as the Resident Dramatist at the Royal Court Theatre, and also as the company's literary manager. Hampton won the Academy Award for Best Adapted Screenplay in 1988 for the screen adaptation of his play Dangerous Liaisons. He was nominated again in 2007 for adapting Ian McEwan's novel Atonement. Hampton forthcoming project is the translation into English of Michael Kunze & Sylvester Levay's Austrian musical Rebecca based on Daphne du Maurier's book which is scheduled to premiere in 2009 in Canada, and then move to Broadway in 2010.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 65 reviews
January 28, 2018
Oh what a wicked web we weave and what an enlightening revelation on just how much sex and virtue and fidelity play prominently in pre-revolutionary France.
When two hedonistic people have too much time and money on their hands, lives are ruined.
The culprits get their comeuppance, but the win is not satisfying as the damage done is sadly already irrevocable for all parties involved.
When two hedonistic people have too much time and money on their hands, lives are ruined.
The culprits get their comeuppance, but the win is not satisfying as the damage done is sadly already irrevocable for all parties involved.
July 3, 2017
Simply the best on the page script I've read. Very little was changed in the movie adaptation, although I did like the movie ending better. I remember Glenn Close and John Malkovitch being brilliant in this film. I'm so intrigued by this that I really want to read the book it was based on. Just how good was it? I would love to see this staged.
Read
October 21, 2010Over the years I have seen many theatre productions of Pierre Choderlos de Laclos' master work, Les Liaisons Dangereuses, read more than one full translation of the novel, and seen both Steven Frears' film version, which uses Christopher Hampton's script, and Milos Forman's film version.
None of these prepare you for Hampton's script of Dangerous Liaisons.
Stripped of the movement and motion of a stage production, of the light and colour of film, and of the intervening narrative passages of the book, one is left face to face with the two central characters who prowl round each other like caged tiger and lion in ever tightening circles.
No fang or claw is left unbared. No snide remark held back. No sarcasm masked.
This is chess played with bloodsucker pieces. The poisonous Queen of Marquise de Merteuil playing against the almost equally poisonous Knight (Rook) of Vicomte de Valmont.
They hiss and slither across the finely wrought board of the aristocratic life in which each is so intensely entwined. The other characters are pawns in the play of the two ex-lovers.
At the same time, the two, Merteuil and Valmont, play the pieces on their board like perverse chess-players, playing not to win but to inflict damage.
In this game, the winner will happily drown with the loser, just as long as the loser drowns. This is a chess game out of Dante's Hell.
And the reader is held close enough by Christopher Hampton's script to sense the quiver of Valmont's nostrils as he gives yet another thrust.
Hampton has stripped the novel to its essentials. Only the naked muscles of the novel's workings are left to us.
We are held so close to the action of the play we are hypnotized by the smell of Merteuil's rouge and powder as she oils yet another barb.
The artificiality of each of their lives is not stiff but has the suppressed, compressed power of a huge, tightly coiled spring. They each take turns to tighten the coil.
Who will be first to release the ratchet and allow the spring to release in an instant of almost unimaginable power?
This is backlash so swift as to be all but imperceptible in its movement. Equally though, as great as is the speed of the uncoiling spring, is the power of the spring unleashed.
The tension tightens and tightens, notch upon notch. Morality is stretched thinner and thinner to breaking point.
Merteuil. "That's enough!"
(All of them, even Merteuil herself, are startled by the sharpness of this involuntary remark.
Merteuil hastens to paper over the crack, by adding a quiet explanation ...)
"I think we should respect the sensibilities of our friend." [p113]
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
When Merteuil finally triumphs, it is with the gallows laugh of the hangman. Today, Valmont's neck is severed upon the block.
Does tomorrow for Merteuil start with a fresh round with some other ex-lover?
Or does tomorrow bring for her a series of endless tomorrows, where her wails of remorse, of loss, of longing, sheel and screech fit to drown out all other sound.
Is, finally, Merteuil's grief every bit as utterly stupendous as were the sheer wanton acts of cruelty that Merteuil and Valmont stupefyingly inflicted upon each other.
If this was during the course of the action the sight of morals unleashed, then this at the end is truly the sound of retribution.
None of these prepare you for Hampton's script of Dangerous Liaisons.
Stripped of the movement and motion of a stage production, of the light and colour of film, and of the intervening narrative passages of the book, one is left face to face with the two central characters who prowl round each other like caged tiger and lion in ever tightening circles.
No fang or claw is left unbared. No snide remark held back. No sarcasm masked.
This is chess played with bloodsucker pieces. The poisonous Queen of Marquise de Merteuil playing against the almost equally poisonous Knight (Rook) of Vicomte de Valmont.
They hiss and slither across the finely wrought board of the aristocratic life in which each is so intensely entwined. The other characters are pawns in the play of the two ex-lovers.
At the same time, the two, Merteuil and Valmont, play the pieces on their board like perverse chess-players, playing not to win but to inflict damage.
In this game, the winner will happily drown with the loser, just as long as the loser drowns. This is a chess game out of Dante's Hell.
And the reader is held close enough by Christopher Hampton's script to sense the quiver of Valmont's nostrils as he gives yet another thrust.
Hampton has stripped the novel to its essentials. Only the naked muscles of the novel's workings are left to us.
We are held so close to the action of the play we are hypnotized by the smell of Merteuil's rouge and powder as she oils yet another barb.
The artificiality of each of their lives is not stiff but has the suppressed, compressed power of a huge, tightly coiled spring. They each take turns to tighten the coil.
Who will be first to release the ratchet and allow the spring to release in an instant of almost unimaginable power?
This is backlash so swift as to be all but imperceptible in its movement. Equally though, as great as is the speed of the uncoiling spring, is the power of the spring unleashed.
The tension tightens and tightens, notch upon notch. Morality is stretched thinner and thinner to breaking point.
Merteuil. "That's enough!"
(All of them, even Merteuil herself, are startled by the sharpness of this involuntary remark.
Merteuil hastens to paper over the crack, by adding a quiet explanation ...)
"I think we should respect the sensibilities of our friend." [p113]
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
When Merteuil finally triumphs, it is with the gallows laugh of the hangman. Today, Valmont's neck is severed upon the block.
Does tomorrow for Merteuil start with a fresh round with some other ex-lover?
Or does tomorrow bring for her a series of endless tomorrows, where her wails of remorse, of loss, of longing, sheel and screech fit to drown out all other sound.
Is, finally, Merteuil's grief every bit as utterly stupendous as were the sheer wanton acts of cruelty that Merteuil and Valmont stupefyingly inflicted upon each other.
If this was during the course of the action the sight of morals unleashed, then this at the end is truly the sound of retribution.
August 2, 2022
Kind of knew I’d enjoy it and I did!
Great play written fantastically
Great play written fantastically
April 1, 2016
As much fun to read as it was to see.
January 5, 2023
(læst forud for premiere i Skuespilhuset: 14/1)
Skuespillet Les Liaison Dangereuses (på dansk: farlige forbindelser) er Christopher Hamptons dramatisering af Choderlos de Laclos roman af samme navn.
På stribe nedlægges uforvarende ofre i Merteuil og Valmonts kyniske sexspil. Men noget ændrer sig, da en ny variable trækkes ind i kamparenaen: kærlighed (lidt fløde… bear with me).
Min dom: Akkurat så ubehageligt/følelseskoldt som det lyder! Fint afrundet, i elegant og hjertelig forløsning i 4. akt!
Skuespillet Les Liaison Dangereuses (på dansk: farlige forbindelser) er Christopher Hamptons dramatisering af Choderlos de Laclos roman af samme navn.
På stribe nedlægges uforvarende ofre i Merteuil og Valmonts kyniske sexspil. Men noget ændrer sig, da en ny variable trækkes ind i kamparenaen: kærlighed (lidt fløde… bear with me).
Min dom: Akkurat så ubehageligt/følelseskoldt som det lyder! Fint afrundet, i elegant og hjertelig forløsning i 4. akt!
December 18, 2018
A free book received.
If the movie Cruel Intensions was written in the French aristocracy style and told by letters being sent back and forth between characters, this would be the outcome. Too much time, money, and experience in the hands on those who have no care for the innocent and just want to watch the world burn because of wrongs done to them in the past.
If the movie Cruel Intensions was written in the French aristocracy style and told by letters being sent back and forth between characters, this would be the outcome. Too much time, money, and experience in the hands on those who have no care for the innocent and just want to watch the world burn because of wrongs done to them in the past.
December 25, 2023
Ik las de bewerking van Marcel Otten, die zich baseerde op zowel de versie van Christopher Hampton als die van Heiner Müller (Kwartet). Hoewel deze theatertekst vlot en snedig is, vind ik de thematiek wel wat achterhaald. Deze versie werd in 2020 nog opgevoerd door Bos Theaterproducties, maar ik vraag mij af of het allemaal nog relevant is.
March 17, 2024
the amount of passion, tension, immorality and wit is incredible (literature as it should be)
February 18, 2025
Excellent storytelling that mirrors the novel...except for the ending
May 30, 2025
incredible but i almost fell asleep twice
March 1, 2024
When I tell you Valmont is a straight up DEMON. A sexy demon. But a DEMON. As I was reading this play, I could also see myself in all of the leading women, at different stages of my life. You start as a Cecil and eventually are victimized and betrayed by men so much you become Mertuil. The ending comes on ya a little too quick so docked a star for that. But I love this thing.
September 22, 2014
This was a short, yet fascinating read. A tale of two French aristocrats, playing off each other as they scheme to bring ruin and revenge to perceived enemies. There's a glorious sense of decadence and deceit - the constant needling of the two protagonists is brilliant and there is a sense of humour that I wasn't expecting - the scene where Valmont writes to his target using a lover as a desk is just genius. This has made me want to read the full novel or see the play/film, as I really would like to visit this story again. For me, the only let down was the duelling scene - I'm not sure the action really leads into it well enough and it comes a surprise. I'd love to find out whether there is more to the story than is portrayed here.
December 1, 2016
Crackling repartee highlight this play of some pretty nasty people, being nasty to others and ultimately themselves.
January 20, 2024
This is the third time I have tried to write this review . Twice the app has just dumped me out and lost my review. I read this as part of a “book club” sponsored by an excellent local theatre. We usually read interesting scripts, and this is a first for them as they are about to open this show. If you don’t know, there was a book first and movies and a play script have been based on the book. I haven’t read the book or seen the movie, so I came into this fresh. I am an actor, producer and costumer, so I have several perspectives on this script.
In several ways this script is brilliant. It does an excellent job of fleshing out the characters with great dialog and action. There is a ton of stuff packed in this script and a big burden is placed on the actors to insert some important elements where there is no dialog. What I am trying to point out is that this scripts asks a lot of the actors, which is reasonable and puts a lot of confidence in the acting. Actors love that. As for reading the script, there is enough in the notes and stage directions to fill in the blanks as you read.
I definitely recommend reading it.
In several ways this script is brilliant. It does an excellent job of fleshing out the characters with great dialog and action. There is a ton of stuff packed in this script and a big burden is placed on the actors to insert some important elements where there is no dialog. What I am trying to point out is that this scripts asks a lot of the actors, which is reasonable and puts a lot of confidence in the acting. Actors love that. As for reading the script, there is enough in the notes and stage directions to fill in the blanks as you read.
I definitely recommend reading it.
December 12, 2017
Cruel Intentions was based on Laclos' novel, Les Liaisons Dangereuses, written in 1782. I listened to the unabridged rendition of the play, performed by the full cast at London's Donmar Warehouse, and it was excellent! The narration alone is worth your listen, but the writing is beautiful, too. Seduction, manipulation, betrayal, heartbreak, naiveté... Juicy. This was risqué, scandalous, amoral stuff for the 1800s!
January 16, 2021
I think I would, in the end, be able to keep my seat in the audience for the duration of this, but only for not wanting to miss a single moment. Either way, the temptation to briefly excuse myself periodically to get some air as a self-preservation exercise would be nearly intolerable. I know I would be very grateful for a darkened theater to mask my blushing self. A hilarious masterpiece I hope to see on stage.
January 13, 2018
This is mildly amusing, if dated. Ends up being a bit of a heavy moral tale at the end, but the execution is decently fun. I did not know that it was entirely epistolary when I started, which as you all know is not my favorite format, or I probably wouldn't have picked it up. It was enjoyable enough, however, and gives an interesting look at libertines and society in 1782 France.
January 17, 2022
Every bit as clever and vicious today as it was, no doubt, several decades ago (or several centuries, if you’re going based on the novel, which I’d like to read one day).
Great intro from Hampton on the original author, and a terrific shock to see Alan Rickman in the cast notes as the original Valmont. Now that’s something I wish I could have seen.
Great intro from Hampton on the original author, and a terrific shock to see Alan Rickman in the cast notes as the original Valmont. Now that’s something I wish I could have seen.
October 11, 2024
Working on a scene from this play in my acting class. Cecile is going to be a fun and ridiculous person to play. I really like how this is written, very similar to The Importance of Being Ernest which I love. I also LOVE how the entire play is contextualized in a very specific and SPOOKY way in the final stage directions. So cool.
October 1, 2025
I really enjoyed reading this play. I don't know the original novel nor the movie.
It was a fun read that really makes me look forward to seeing a full production.
At times, I was confused by all the characters but this will be easily cleared up when I see them in full costume, and I know the costumes will be extravagant.
The play does end with the image of the guillotine in the distance.
It was a fun read that really makes me look forward to seeing a full production.
At times, I was confused by all the characters but this will be easily cleared up when I see them in full costume, and I know the costumes will be extravagant.
The play does end with the image of the guillotine in the distance.
May 1, 2019
I am less generous on my second read, going from the thrill a reading (not seeing) a great theatrical event to utter repulsion at these horrible people. Two readings may be enough. I am not sure I can further endure their company.
July 22, 2020
I do like this more as Cruel Intentions, as I think the relationships in that are better developed. I do like the like risqueness of it, combined with the very morally gray characters. But, I think certain things should be better developed, as they are in the film.
March 23, 2024
“Si corrono meno rischi con una cattiva scelta che con una scelta ovvia.”
“Quasi sempre chi è più degno di ricevere amore è anche chi dall’amore non riceve che infelicità.”
Dramma perfetto, tra i migliori che abbia mai letto.
“Quasi sempre chi è più degno di ricevere amore è anche chi dall’amore non riceve che infelicità.”
Dramma perfetto, tra i migliori che abbia mai letto.
July 3, 2017
Not grasping every idea, but in all, complex and intriguing.
July 22, 2018
It's been a few years and well worth the reread.
November 13, 2018
One of my absolute favorite plays of all time!
April 11, 2019
po bueno ahí ahí
July 12, 2021
A provocative interpretation of a classic text
Displaying 1 - 30 of 65 reviews