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Posts Tagged ‘Danielle Darrieux’

It is said ‘Love makes the world go round,’ and it is a merry go round in this case. We get to see some who are riding the painted horses of their libido and we know it is a cavalcade, a passing show of women at the lower end of the social class and men of stolidity, class and debauchee all well settled on their places. Naturally while it lasts it is impossible to set apart them by their social differences or polish. You see the fast and furious spin can only give us vignettes and it is set in Vienna in the early 1900s. From the world- weary narrator excellently essayed by Anton Walbrook we follow certain characters in particular in their natural habitat. The prostitute and the maid for example dare to ply their trade and accept the risks that their position entails.
The film demands that the audience pay attention to the structure, to the interplay among the characters, and to the opulent visual elements; and the effect is a delight, as typical with films of Ophuls overtly sexual themes are treated both visually and intellectually to take out what is heady and rank. By no means it is insipid but Ophuls’ keen insight into what keeps the male and female, urbane and demimondaine sparkle makes the difference. Passion for any individual is ephemeral but does it not drive him or her to pursue with all the more ardor though the deed is done and the person has gone? It may be first love that one seeks to recapture but no matter the individual is not likely to quit if time is right and occasion comes along. The face and name of the loved may all be different but what drives it is invariably from same source. Metaphor of a merry-go-round for this motivating force in human behavior is apt. Love is fleeting long live love that makes the world go round.

La Ronde is based on a play by Arthur Schnitzler (1862–1931), it was an adaptation of perhaps the most famous and most scandalous play of fin de siècle and not staged in Vienna until 1921—was ideal material for the filmmaker’s return to his roots. It’s an ingenious piece of dramatic construction. In the first of its ten scenes, a prostitute picks up a soldier, who in the second scene romances a chambermaid, who in the next scene is ravished by her young employer, and so on until the end, when a count spends the night with the streetwalker from the opening scene and the play comes full circle.
‘Ophuls shot the picture entirely in the studio, and he and his co-scenarist, Jacques Natanson, added one more character to the ten in Schnitzler’s play: an unnamed, godlike figure, played by Walbrook, who, assuming several different guises, guides all the heedless lovers through their various intrigues, philosophizes between scenes, and, not incidentally, operates a festive-looking but occasionally balky merry-go-round. (When one of the male characters finds himself unable to perform in bed, Walbrook has to make a few repairs so the love carousel can keep turning.)’
Max Ophuls (1902–57)
Ophuls, who was born in Germany, worked in the theater there and in Austria during the twenties, made films in Germany, France, Italy, and the Netherlands in the thirties, and spent the forties in the United States. La ronde was made in France, where the filmmaker had been a citizen since 1938 but had not lived for a decade; its cast consisted mostly of French actors but also included the Italian Isa Miranda, who had starred in his marvelous La signora di tutti (1934). Last but not the least Anton Walbrook (The Red Shoes) plays the cicerone.
Max Ophuls’ career in the German film industry had to be abruptly stopped when Adolf Hitler came into power. He fitted well all the traits that the Nazi’s loved to hold up to ridicule as decadent: a Jew, – a sophisticated and artistic Jew at that. His last film before he left his native land was a tragic tale of adultery and foolish honor called Liebelei (1932) set in Vienna and based on a play by Schnitzler. (The wry romantic fatalism of Schnitzler perhaps fitted Ophuls’ worldview.) Liebelei was for him a threnody of the vanished grace of Vienna that he had known. La Ronde that came after the Nazi Regime was swept off into the rubbish heap of history was much lighter in tone.
Like many European directors his stint in Hollywood was not a very happy one. Letter from an Unknown Woman (1948), which was adapted from a story by another Viennese, Stefan Zweig. Its subtlety was lost on American audiences of the day, and it flopped. His last two Hollywood movies Caught and The Reckless Moment fared no better.

Trivia: Kubrick’s Eyes Wide Shut is based on a novel by Arthur Schnitzler. (ack: Terence Rafferty-The Criterion Collection 15 Sep’08 In the too-brief life and art of Max Ophuls)
Benny

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(This is a reprint of a film appreciation posted in cinebuff.wordpress.com.b)

In one of the three Guy de Maupassant–derived stories of Ophuls’s Le plaisir (1952), the rejected model jumps out of a window and winds up in a wheelchair. The artist, now forcibly married to her, and with plenty of time to work, voices the bitter aphorism, “There’s no joy in happiness.” In the present film Danielle Darrieux invites unhappiness since it is the only way she can feel the pulse of her innermost universe where the heart rules. In Ophulsian universe, men and women occupy separate but equal spheres, and if the men have more power and agency in the world, the women are the conquistadors in the more important realm of the heart. They are the ‘militarists of love’ as Stendhal would call them. For the general’s wife in the Earrings of Madame de… a piece of jewelry serves as nicely as one marries above one’s rank to be reckoned as a woman of importance.  Louise is married and she has a lover. ‘Loss’ of  her earrings presented to her by her husband  could set in motion, events of such import as a kingdom lost at the throw of a dice. Such a personal article ( a trifle in itself) could as the kerchief of Desdemona lead to death in some cases or social disgrace.  Louisa belongs to the rank and file of the militarists of love who gamble with trouble, knowing tragedy is around the corner. Why do they still do it? I recall a passage where Stendhal (Red and the Black) quotes  the case of Margaret du Valois, the wife of Henri IV. She needed such dangers in order to feel her existence. Not having anxiety was as being in a limbo, out of the pale of social respectability her station and rank commanded.

The Earrings of Madame de . . . is based on a 1951 novel by Louise de Vilmorin simply called Madame de, who, in pawning the earrings given her by her husband, sets off a chain of circumstances that, when she falls desperately in love, tightens around her and destroys her. It’s like a brooch, small in scope but filigreed and chiseled masterly as the works of Ophuls often are. The film has a special sheen brought out by incisive wit, irony and understanding. His films are all a treat to watch. It is all on the surface like light caught and the many facets of the stone keep you attentive to what goes on beneath. ”Madame de…” is one and  his  ”La Ronde” (1950) and ”Lola Montes” (1955) are similarly masterly. Take for instance the scene where he makes Baron Fabrizio Donati  writing his lover  day after day, with no letter back. Of course Louise frail in health and unable to stay in Paris tears up his letters and throw them out of her train carriage all the more despondent. She must play her part as demanded of her. In her thoughts,-her  tears and unhappiness on reading them were as good as replies to them. ‘ I’ve answered all your letters my love,”says she. She lacked the courage to reply in any other manner. Louise is married to a general. Their marriage has style but no substance. In fact as the general observes it is superficially superficial. In the same context he sententiously adds, – it is his way of serious conversation, ‘our conjugal bliss is a reflection of ourselves’.

The way she views her earrings is a clear indication of her feelings with regards to marriage. The diamonds, a gift of her husband she doesn’t mind selling since her debts that necessited it, are part of household expenses. She has run up debts in keeping her station in the society while the gift coming from Baron Donati is  from desire. She makes it clear in her tryst in his carriage that she will always keeps them by her bedside. That is what love means to her. In the end when she presents the gift to the Church its significance cannot be lost on the viewer.

The diamond earrings like RL Stevenson’s Bottle Imp turns up often to expose their shallowness as a couple and it echoes Renoir’s La Regle du Jeu: marriage as an institution in the pre WWI France meant for the privileged precious little no more than parading their good breeding and privileges. In this film also disaster follows the woman who makes a false step. Louise will lie to cover the absence of her earrings that makes her lover take offense first and then lead to a duel between two persons who mean most to her. All this will make the viewer agree with the general who quotes Napoleon,”The only victory in love is to flee”.

‘The Earrings of Madame de…,’ directed in 1953 by Max Ophuls, is one of the most mannered and contrived love movies ever filmed. It glitters and dazzles, and beneath the artifice it creates a heart, and breaks it. The film is famous for its elaborate camera movements, its graceful style, its sets, its costumes and of course its jewelry. It stars Danielle Darrieux, Charles Boyer and Vittorio De Sica, who effortlessly embody elegance. It could have been a mannered trifle. We sit in admiration of Ophuls’ visual display, so fluid and intricate. Then to our surprise we find ourselves caring’.( Roger Ebert-2001)
ack: Press Notes: Ophuls, A Pleasure Indeed, Criterion-Sep. 19, 2008

Cast
Comtesse Louise de    Danielle Darrieux
Générale André de    Charles Boyer
Baron Fabrizio Donati    Vittorio De Sica
Monsieur Rémy    Jean Debucourt
Monsieur de Bernac    Jean Galland
Lola    Lia Di Leo

Credits
Director    Max Ophuls
Based on the novel by    Louise de Vilmorin
Adaptation by    Marcel Achard, Max Ophuls and Annette Wademant
Cinematography:    Christian Matras
Music    : Oscar Straus and Georges van Parys
Costumes:    Georges Annenkov and Rosine Delamare
Sound    : Antoine Petitjean

Editing:    Borys Lewin
* Run Time: 105 minutes
* Filmed In: B&W
benny

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