An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes ...
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Three stories about the pleasure. The first one is about a man hiding his age behind a mask to keep going to balls and fancying women - pleasure and youth. Then comes the long tale of Mme ... See full summary »
Director:
Max Ophüls
Stars:
Jean Gabin,
Danielle Darrieux,
Simone Simon
The film tells the tragic story of Lola Montès, a great adventurer who becomes the main attraction of a circus after being the lover of various important European men.
Director:
Max Ophüls
Stars:
Martine Carol,
Peter Ustinov,
Anton Walbrook
In the Paris of the late 19th century, Louise, wife of a general, sells the earrings her husband gave her as a wedding gift: she needs money to cover her debts. The general secretly buys ... See full summary »
Director:
Max Ophüls
Stars:
Charles Boyer,
Danielle Darrieux,
Vittorio De Sica
Gaby is expelled from school after a married teacher commits suicide after telling her he can't live without her. Though she has done nothing, she is punished for his act.
It was Leonora Eames' childhood dream come true. She had married Smith Ohlrig, a man worth millions. But her innocent dream became a nightmare once she realizes the truth about her husband ... See full summary »
Director:
Max Ophüls
Stars:
James Mason,
Barbara Bel Geddes,
Robert Ryan
Vienna in the beginning of the twentieth century. Cavalry Lieutenant Fritz Lobheimer is about to end his affair with Baroness Eggerdorff when he meets the young Christine, the daughter of ... See full summary »
Director:
Max Ophüls
Stars:
Paul Hörbiger,
Magda Schneider,
Luise Ullrich
In an open-air dance hall, the members of Leca's gang are relaxing with their ladies. One of them, Marie, aka "Casque d'Or" (Golden Helmet) meets Manda, a carpenter. Her man Roland belongs ... See full summary »
Director:
Jacques Becker
Stars:
Simone Signoret,
Serge Reggiani,
Claude Dauphin
Late 19th century. The young miss Julie lives in a mansion with her father. She has recently broken her engagement but is attracted to one of the servants, Jean. They spend the midsummer ... See full summary »
An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes a maid and does similarly with the young man of the house. The young man seduces a married woman. On and on, spinning on the gay carousel of life. Written by
Ed Sutton <[email protected]>
I first saw La Ronde in 1950, at an art theatre, when I was completely caught up in the concept and progression of scenes, but only a novice at critical analysis. Consequently, it was one of the first (Beta) videotapes in my collection.I viewed it again last night, for only the second time. I can understand the reactions of those, especially contemporary viewers who expect romantic scenes to be more explicit. (The French were doing that very well long before Hollywood, so the lack in this film does not result from reticence.) Yet after 53 years the film has lost little of its charm for me: (I notice that older viewers tended to rate La Ronde higher than those who are younger.) The linking device came from Schnitzler, not from the film scripter, so could hardly have been avoided, and the segments varied in quality. It seems that the actors did not take the film or themselves too seriously, which was quite appropriate. I recall that the only full-screen close-up came at the end, with Signoret as the prostitute. Was that a final comment on love itself: always exploitative and transitory; as seen in each scene, to a greater or lesser extent.
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I first saw La Ronde in 1950, at an art theatre, when I was completely caught up in the concept and progression of scenes, but only a novice at critical analysis. Consequently, it was one of the first (Beta) videotapes in my collection.I viewed it again last night, for only the second time. I can understand the reactions of those, especially contemporary viewers who expect romantic scenes to be more explicit. (The French were doing that very well long before Hollywood, so the lack in this film does not result from reticence.) Yet after 53 years the film has lost little of its charm for me: (I notice that older viewers tended to rate La Ronde higher than those who are younger.) The linking device came from Schnitzler, not from the film scripter, so could hardly have been avoided, and the segments varied in quality. It seems that the actors did not take the film or themselves too seriously, which was quite appropriate. I recall that the only full-screen close-up came at the end, with Signoret as the prostitute. Was that a final comment on love itself: always exploitative and transitory; as seen in each scene, to a greater or lesser extent.