443-445 La ronde, Le plaisir, The Earrings of Madame de...

[Danny Burk]

Thanks to both of you for your replies...I'll definitely check into these additional titles.

Michael, it was your post (just above mine) that got me even more anxious to see MADAME DE... and finally get around to putting in an Amazon.uk order. Your description, along with others' comments, makes me think I've been missing out, same as I learned when I discovered Mizoguchi for myself last year. The exchange rate is so bad that I've been putting off ordering things in pounds and euros lately, but I could resist no more! LETTER FROM..., new and improved TABU (another great favorite), blu-ray BLACK NARCISSUS (yet another favorite!) and CHIKAMATSU MONOTOGARI/UWASA NO ONNA (both new to me) all shipped today; I will report back on my impression of Ophuls.

[Michael]

I'm forever grateful for my professor-friend who encouraged me to watch Madame de, he was sponsering and projecting several films at a Greenwich Village theater, damn I can't remember its name.. that was long time ago and it no longer exists. Reflecting more on that night, the argument I had with the guy I was going out with, the memories emerged more. I now remember his words, the love story was contrived and silly, with countless coincidences and so forth. But it was of my opinion that Ophuls pushed the story to the back burner and created his own visual style to bring us the closest to the real heart. I really can't wait to revisit the film after a long time. I felt profoundly wistful for Madame de, also my #1 fave, for years. I've already ordered Madame de but I'm very tempted to order La ronde and Le plaisier - they're very expensive, how do they compare to Madame de? Must buy?

Netflix carries the Fox Lorber disc of Lola Montes and I'm assuming its the American cut (in the chronological order). Is it worth checking out?

[vivahawks]

I felt profoundly wistful for Madame de, also my #1 fave, for years. I've already ordered Madame de but I'm very tempted to order La ronde and Le plaisier - they're very expensive, how do they compare to Madame de? Must buy?

Obviously this varies from person to person, but I'd say that La ronde is a must buy and Ophuls' best film after The Reckless Moment and Letter from an Unknown Woman. It's the most fluid of his great works and also the funniest, and if you're a fan of Anton Walbrook in Powell/Pressburger and other 40s British films, his turn here as the master of ceremonies is indispensable, as good as anything he ever did. Le plaisir is relatively minor by comparison and my least favorite of Ophuls' 50s output, though it's still essential viewing, especially for two sublime climactic sequences.

[Svevan]

Anton Walbrook = sold. He's pretty much the only reason I enjoy The 49th Parallel.

[Jonathan S]

Netflix carries the Fox Lorber disc of Lola Montes and I'm assuming its the American cut (in the chronological order). Is it worth checking out?

No, the Fox Lorber disc is the 110 minute French version as restored around 1980. However, the transfer scarcely does the film justice and it's probably best to wait for one of the two recent restorations to appear on DVD. Lola Montes is probably the Ophuls film that divides opinion the most. I think it's a flawed masterpiece but I know admirers of his other films who cannot stand it at all!

[Michael]

Netflix carries the Fox Lorber disc of Lola Montes and I'm assuming its the American cut (in the chronological order). Is it worth checking out?

No, the Fox Lorber disc is the 110 minute French version as restored around 1980. However, the transfer scarcely does the film justice and it's probably best to wait for one of the two recent restorations to appear on DVD. Lola Montes is probably the Ophuls film that divides opinion the most. I think it's a flawed masterpiece but I know admirers of his other films who cannot stand it at all!

Rented and watched Lola Montes just now. Whoa, my mind is pretty shattered. Gorgeous, gorgeous cinematography as expected from Ophuls, putting that aside, it seems so different from what I remember of Madame de. Not a negative thing because I love Lola Montes very much and I want to see it again already. Actually I can't think of anything similar to this film, it's a totally different animal, totally distinctive, totally unique. Ophuls made this in 1955?! Hard to believe because the film is so way ahead of its time, way ahead of masters like Fellini and Godard (IMO). I love that Lola is treated like a mannequin throughout the whole film, people interpreting her, filling in the details of her life, etc. and Ophuls makes sure that we never get close to her, forcing us to "project" her in our own way.

[Stefan Andersson]

davidhare: what is KG? Link, please?

[Michael]

Criterion needs to release Lola Montes right now! Still thinking about it, I simply can't get over the fact it was made in 1955! Even the dialogues, especially the shout outs from Peter Usinov, remain modern. I love how Ophuls slide us through inside and outside numerous dimensions of the story of Lola - the circus serving as the matrix of her lifestory and Lola stands in the heart like a mannequin, an icicle. What an unique and original way to film a bio. The world spins around her as we "project" her to fit to what we want of her or make of her, just like the rest of the world. Hard to explain. Beautiful, beautiful, beautiful film. Anyone a fan?

[chaddoli]

Yes! Although I've only seen a crappy transfer of it, only getting a hint of its delirious imagery. Ophuls' final tragic woman story feels like his most complete (though I still may prefer Letter from an Unknown Woman). It's circular pattern compounds its tragedy by rendering it inevitable. We already know Lola is doomed during the flashbacks which see her almost finding contentment. The finale at the circus, particularly the last shot, is an indelible image in my memory.

[Michael]

Yes! Although I've only seen a crappy transfer of it, only getting a hint of its delirious imagery. Ophuls' final tragic woman story feels like his most complete (though I still may prefer Letter from an Unknown Woman). It's circular pattern compounds its tragedy by rendering it inevitable. We already know Lola is doomed during the flashbacks which see her almost finding contentment. The finale at the circus, particularly the last shot, is an indelible image in my memory.

I haven't seen Letter From an Unknown Woman yet but I'm tempted to pick up the VHS from a local library and borrow a friend's VCR (because I no longer own a VCR).

[chaddoli]

I still have my VCR, but I remember reading there is a new DVD being released soon somewhere (I don't think in R1). It's the only Ophuls I've seen in 35mm (other than Caught, which is decent but minor), so I'm sure that contributed to my love for it. I can't wait to see the new print of Lola Montes at NYFF!

[Michael]

I still have my VCR, but I remember reading there is a new DVD being released soon somewhere (I don't think in R1). It's the only Ophuls I've seen in 35mm (other than Caught, which is decent but minor), so I'm sure that contributed to my love for it. I can't wait to see the new print of Lola Montes at NYFF!

Is there a date already set for Lola Montes? I'm going to fly to NY from Florida just to see that film. Thankfully I work for an airline so that means I fly for free! We all Criterion Forum members should group up and catch the screening! Now having seen the film on the dismal Fox Lorber DVD last night, I just can't imagine seeing it on the big screen, that has to be soo overwhelming!

chaddoli, have you see Madame de...?

[Matt]

Film Forum's page for Lola Montes is here. Our existing thread on the film and its DVD releases is here.

Chaddoli, are you referring to the UK disc of Letter that has been out for a couple of years, or to another release?

[Michael]

Many thanks to Matt. Three weeks at Film Forum! Perfect. I will be there.

[Danny Burk]

I haven't seen Letter From an Unknown Woman yet but I'm tempted to pick up the VHS from a local library and borrow a friend's VCR (because I no longer own a VCR).

Michael - I got my R2 copy of LETTER from Amazon.uk last week and watched it a few nights later. It's a lovely film, much in line with what I'd expected, thanks to comments here about Ophuls films as a whole. I purposely watched it without knowing much about it so that I wouldn't approach it with preconceived notions...or not many, anyway. I think you'll love it...superb sets and photography, delirious romance, and an outcome that may (or may not) surprise you.

I've never seen LOLA and will wait for a decent copy before buying, but meanwhile, I'm counting the days till Criterion's EARRINGS and the others are available...

[chaddoli]

Well David, I remember liking the film stepping out of the theater, but posting earlier, I couldn't remember any of its details. My memory is going at my young age. Reading the synopsis on IMDb, some wonderful little bits and moments are coming back to me. Maybe you can elaborate on what you love about the film?

And yes Michael, I have seen Madame de... and it is indeed an elegant and moving morality play. I couldn't tell you why Letter affects me so much, but the sentence would have to start with "the way Joan Fontaine..." She is just so earnest and loving in every scene of that film. "Why don't you break my heart one more time, just for good luck."

I seem to be mistaken about an upcoming R1 (memory again), does anyone know anything?

One more note: the next Ophuls I'm looking forward to seeing is La Plasir (which is the Ophuls film Slant Magazine decided to deem "essential"). Can anyone comment?

[Michael]

And yes Michael, I have seen Madame de... and it is indeed an elegant and moving morality play. I couldn't tell you why Letter affects me so much, but the sentence would have to start with "the way Joan Fontaine..." She is just so earnest and loving in every scene of that film. "Why don't you break my heart one more time, just for good luck."

Interesting that you called Madame de.. a morality play. I can see that: lying, decieving, cheating, etc all end in tragedy. I've grown a strong detest for "morality" type of films for a few years now and I wonder if that's going to affect my refreshment of Madame de... when it comes out next month.

[Narshty]

One more note: the next Ophuls I'm looking forward to seeing is La Plasir (which is the Ophuls film Slant Magazine decided to deem "essential"). Can anyone comment?

I loved - really loved - the first two segments, but was bored by the final one with Simone Simon. Luckily it was short. I can't wait to see the first two again though; they're magical.

[vivahawks]

other than Caught, which is decent but minor)

No it's not, it's a staggering masterpiece, like the other three American pictures.

Look again brother!

I'm also curious about your defense for Caught--Ryan is always great, and Ophuls crafts beautiful individual sequences as always, but the rift between what the movie wants to say and what it actually does (esp about del Geddes' character) grows wider as it progresses, and the ending seems totally incoherent. Also interested by your opinion on The Exile as a masterpiece: it has definite thematic parallels with other Ophuls, but the treatment seems comparatively routine and superficial. For me it's mainly enjoyable as an above-average swashbuckler.

[Jonathan S]

And I neglected to respond a couple of pages ago to Stefan about La Ronde and the two cuts. As I understand it Criterion wanted to include the longer cut as well as the 97 minute version but Marcel said no.

Sorry if I'm testing your patience, David, as the Ophuls Oracle, but could you elaborate on this please? Not so much on the Criterion angle - but does Marcel own worldwide rights to the longer version of La Ronde? If so, how did it slip out before - has he changed his mind about it? Or do Criterion feel they have to respect his wishes for some reason?

I admit I'm rather confused about the whole business of various directors' offsprings apparently having automatic legal control of their fathers' films but I thought it was usually European rights only. For example, the Melies family vetoed the big set Lobster (and partners) wanted to release in France, but there was apparently no problem about releasing it through Flicker Alley in the US.

[vivahawks]

Thanks David for responding; you make some good points about Caught's relation to the rest of Ophuls' work. I agree with you about its importance as a transition in his career but don't see it as a success in itself. A lot of our differences seem to come down to taste: I think bel Geddes is comparatively one of Ophuls' weakest leads (I even prefer Carol in Lola Montes), and the screenplay feels rough and lacking--in fact, I'd say that's the movie's key flaw. One of the great things about Letter and Reckless Moment is that "cubist" quality you point out (I love that description), the way they destabilize the viewer, pulling and pushing you in and out of the moment, encouraging the audience to develop a multifaceted perspective and simultaneously perceive/identify with/criticize/analyze the characters and their environments. Caught seems to lack that; the dichotomies of character and situation are much more obvious and imposed, and I never developed (or felt it asked me to) that same complex interaction with the picture, just like I can't see bel Geddes as fully formed, just shuttled by the screenplay from one place to another--Robin Wood called La Ronde a "thesis film", I think, and that's how I see Caught's treatment of bel Geddes.

[Props55]

David I just finished thumbing through Higham and Greenburgs "The Celluloid Muse" and happened upon their interview with Robert Aldrich. He was an assistant director and production manager on CAUGHT and he has a lot to say about the behind the scenes business with Ophuls illness, John Berry taking over and how shabbily the latter was treated (he was told he would complete the picture) and how he (Aldrich) had to be the one to tell him (Berry) that he was out. He estimates that Berry shot about a third to one half of the film of the film in its final form. He also gives a good thumbnail sketch of Enterprise Studios and the production of BODY AND SOUL, FORCE OF EVIL and particularly CAUGHT.

[Jonathan S]

As far back as I can remember (to the 60s) the 95 minute print of La Ronde was the only one anyone ever saw, right up until the 70s when word was around about a longer original version. Without any warning this actually started to turn up on TV sceenings in the UK France and Oz among other places - go back two pages in this thread and you'll see this reported by other posters as well. This wasn't even noticed by many people, including me until the present time, when DVDs of the title are finally happening, but of course this is the era of Intellectual copyright muscle flexing. In any case, as I said the word generally has been that Max personally cut and preferred the shorter version, but it would have been a bit of icing on the cake if Marcel had not effectively pulled the plug on any public dissemination.

Needless to say anone who breaches these injunctions (particularly under French law) can face very steep fines.

Thanks, David. Yes, I joined in the earlier discussion about the longer cut, which I've never seen, as I don't think it has turned up in the UK, at least not on video or TV (as someone else here confirmed).

Presumably the European extension of intellectual copyright came after this longer cut surfaced, but I'm still unclear how it could stop Criterion releasing it in R1, unless Marcel now owns the film itself (as I said, the law blocked the Melies DVD set in France but not the US). Maybe Criterion have to keep him sweet for cooperation on extras or their planned release of his Lola Montes restoration? Oh, the sorrow and the pity of it all!

[Florinaldo]

I saw the new print of Madame de... in Ottawa last winter. Just beautiful, and if the DVD of this title manages to convey the same image quality, we are in for quite a treat. Not to mention the story-telling, which caught me right from the first shots and never let up until the very end.

Although the one title I am actually most excited about is La Ronde, unavailable for so long on video. It has been probably 2 decades since I last saw it, and yet I still recall images and sequences from it, along with wonderful performances. I remember it as more well-rounded than Le Plaisir, another episodic film but which falters a bit in the end. Now I'll be able to see if memory does indeed serve me right.

And there's also Caught, coming from Second Sight. September will be a most bountiful month for Ophüls fans!

[Matt]

The Cinematheque at the University of Wisconsin-Madison is showing these three films and other European Ophuls films all throughout fall semester. See you there December 5, at least.