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May 6, 2022 · Following a sudden inspiration Max Ophüls made them exchange parts, and the result was startlingly successful. Another minor sensation was the fact that a number of secondary parts were played by top stars, including Gustav Grundgens and Olga Tshekowa.
Predicting the Nazi ascendancy, Ophüls, a Jew, fled to France in 1933 after the Reichstag fire and became a French citizen in 1938. After the fall of France to Germany, he travelled through Switzerland and Italy, where he had directed Everybody's Woman (1934).
- Cinema of The Subject
- Motion = Desire Filling Space and Time
- Letter
- Lola
- Lola Like You’Ve Never Seen Her! … and Aren’T Allowed To!
Four brief shots in Madame de…(1953) display Ophuls’s peculiar techniques (his “new art”). At this railway customs station, Donati (Vittorio De Sica) and Louise de… (Danièle Darrieux) encounter each other for the first time – and begin a fatal passion. Four frames from Shot 1: In Shot 1, Louise walks quickly past Donati as he spins around in the sa...
Ophuls’s long tracks and long takes emphasize things that seem neither ephemeral nor trivial, but are imponderable and cannot be “dealt with”: emotions, desires, anxieties, self-awareness, identity. The tracks emphasize the subject of the portrait. In La signora di tutti (1934, the first Ophuls fully to exploit tracking portraits), the long traject...
As in Madame de… we identify with the subject by looking at her, but in addition by hearing her voice-off narration. Her first shot finds her by panning left from a harp to her head; we can thus identify the camera with the voice. We see her from the outside, as she wishes, but it is heroutside, with her choices about what to show us. We never see ...
Passion-love is the longing for what sears us and annihilates us in its triumph (Rougement, 1940, 60). In Sans lendemain(1939), Evelyne stands, like Lisa, at a station watching a train leave, helpless, because her willful masochism, her insistence on regarding circumstance as destiny, leads her too, like Lisa, to betray a son and a lover who need h...
At Cannes this spring, The Munich Film Museum was to present its restoration of the premier edition of Lola Montez. Instead the screening was blocked by Max Ophuls’s son Marcel. What audiences saw at Lola‘s first-run engagements in Paris and Munich in December-January, 1955-56, differed from prints in circulation since 1969. These first editions we...
The film chronicles the extravagant but tragic life of a famous actress. The story bears some similarities to Lola Montès, which he wouldn’t make for another 20 years. The two would pair well for a...
Dec 14, 2017 · (released in 1953 and originally titled Madame de…, making its ambiguous title character the central object of exchange, not her divvied jewelry), Ophuls could just as often deploy a supple camera in situations of isolated intimacy, hovering over the shoulder of Danielle Darrieux’s heroine as she browses her clothing and charms.
Abstract. In chapter 8, the films of Max Ophüls provide a framework for understanding prominent stylistic and thematic trends in Kubrick’s work. Kubrick’s use of waltzes owes a particular debt to Ophüls, whom Kubrick admired, and speaks to the waltz’s broader legacy in cinema as an ambiguous and even dangerous music.
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Feb 24, 2019 · It might at first come as a surprise that Max Ophuls influenced New Wave auteurs like Jean-Luc Godard. The former is a master who mixed opulence with his morality tales. The latter auteur, on the other hand, is a revolutionary in both his subject matter and visual sense.
