For the Criterion Blogathon
With the release of one of 2014's most unique films, Wes Anderson's The Grand Budapest Hotel, came an avalanche of publicity. The influences on Anderson's much acclaimed and awarded bittersweet romp through a fictional between-the-wars Old Europe were widely scrutinized in the mainstream press for a time. Among them were German writer Stefan Zweig, whose autobiography The World of Yesterday was a core inspiration; German-born filmmaker Ernst Lubitsch, who made a string of enchanting films of great charm and sophistication through the '30s and '40s; and Max Ophuls, another German-born filmmaker, whose elegant works were marked by deep wit, a cosmopolitan world view and an affinity for Old Europe which he depicted on screen with great style and tendresse many times. His Letter From an Unknown Woman (1948) is arguably the greatest film adaptation of Stefan Zweig's work and, more directly linking Ophuls to The Grand Budapest Hotel, the name of Tilda Swinton's character, "Madame D," is a nod to his masterpiece, The Earrings of Madame de... (1953), the film Wes Anderson named first on his "top ten" list of Criterion Collection titles.
Max Ophuls |
When Hitler came to power in 1933, Ophuls, who like Zweig, Lubitsch and Schnitzler was Jewish, fled to France, where he became a citizen and continued to make films outside Germany for several years. He was forced to leave France with the German invasion and, in 1941, came to Hollywood, the last of Europe's emigre filmmakers to arrive. It was a difficult transition; his work was relatively unknown in the film capital and his singular style and approach to production were at odds with the studio practice of factory-like movie-making, with the emphasis on efficiency over artistry.
Joan Fontaine, Louis Jourdan in Letter From an Unknown Woman |
Among the works of German playwright Arthur Schnitzler, who wrote Leibelie, was the notorious Reigen ("Round Dance"). Described by its author as "a series of scenes which are totally unprintable," it was privately printed and then published in 1903. Reigen was first performed years after it was written but, even with the passage of time, the play provoked a public scandal, riots, criminal prosecution and, later still, was banned. The film that would herald the return of Max Ophuls to the French cinema was his adaptation of Reigen, some thirty years after it debuted on the Vienna stage, titled La Ronde (1950).
Anton Walbrook and Simone Signoret as the carousel begins to turn in La Ronde |
In his memoir The World of Yesterday (1942), Stefan Zweig chronicled a lighthearted, voluptuous fin de siecle Vienna where indulgence in fine food, wine, entertainment and the arts was an essential part of life. The Viennese of that time, he wrote, enjoyed all that was stimulating, musical and festive and delighted in "theatrical spectacle as a playful reflection of life whether on the stage or in real space and time." It is in this spirit that Max Ophuls recreated and brought Old Vienna to life in La Ronde.
Simone Simon and Daniel Gelin, a maid and a young man |
Through ten interconnected vignettes, La Ronde follows a series of seductions. Each episode (with one exception) observes a romantic dalliance that links to the next when one of the lovers moves on. A recurring merry-go-round motif and Oscar Straus's waltz theme underscore the cyclic pattern of the narrative. Straus's melody, by turns merry, nostalgic or melancholy, weaves through the film reflecting mood and tone - and cuing the lovemaking about to begin or coming to an end. The rhythmic nature of the film's design provided Ophuls with an ideal framework in which to showcase his dazzling virtuosity with the camera, most especially the tracking shot. The combined effect of rotating stories and characters and a camera ever in motion conjures a dance, a scrupulously synchronized and choreographed Viennese waltz.
Daniel Gelin and Danielle Darrieux, a young man and a married woman |
La Ronde's "dancers" were some of the great lights of mid-century European cinema: both new and established stars of France including Simone Signoret, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernand Gravey, Odette Joyeux, Jean-Louis Barrault and Gerard Philipe, along with Isa Miranda of Italy and Anton Walbrook of Austria. No one in this all-star cast disappoints but many shine: Simone Simon, never more seductive, and Daniel Gelin as "The Maid and the Young Man," Gelin and elegant Danielle Darrieux as "The Young Man and the Married Woman," Fernand Gravey and Odette Joyeux as "The Husband and the Young Girl," Isa Miranda and Gerard Philipe as "The Actress and the Count." Best of all, underpinning the tone and linking each of the episodes, is Anton Walbrook as the urbane "Meneur de jeu" (host/ringmaster), a pivotal character created by Ophuls for the film.
Anton Walbrook, as the Meneur de jeu, assists La Ronde's censors |
Walbrook opens La Ronde dressed in modern attire as he stands near a stage on a film set. In a long tracking shot, he crosses the set and, with the comment "Let's change our costume," dons the evening jacket and top hat of another era, Vienna 1900. Straus's waltz begins and Walbrook strolls to a carousel where Simone Signoret, a lady of the night, appears. From this point, his character will take many forms - often breaking the fourth wall - ushering in individual vignettes, taking an active role in some, commenting on the action, consoling the characters when a quickened pulse has led to a bruised heart. His is a wry, worldly presence with more than a suggestion of refined modesty, "I make fun of no one," he assures Simone Signoret's character.
Gerard Philipe as the count at table with his ever-present companion |
La Ronde was a resounding popular success on release and launched the final, golden era of Max Ophuls' film career; Le Plaisir (1952), The Earrings of Madame de... (1953) and Lola Montes (1955), all made in France and each a classic, would follow. These four films would be his last; Ophuls passed away in March 1957 at age 54 of rheumatic heart disease.
All four of the final works of Max Ophuls are part of the Criterion Collection |
In January 1954, Francois Truffaut published his landmark article, Une certaine tendance du cinema francaise (A Certain Tendency of the French Cinema), in Cahiers du Cinema. Championing a cinema d'auteur over what he viewed as a too traditional French cinema, Truffaut's piece included references to filmmakers he considered authentic auteurs - Becker, Bresson, Cocteau, Ophuls, Renoir and a few select others were cited. Venerated American filmmakers of his time who were particularly influenced by Ophuls included Vincente Minnelli and Stanley Kubrick. Today another generation of American filmmakers has discovered Max Ophuls; along with Wes Anderson, Paul Thomas Anderson (There Will Be Blood) and Todd Haynes (Far From Heaven) are among those who have gone on record with their praise for his work.
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This post is my contribution to the Criterion Blogathon hosted by Criterion Blues, Speakeasy and Silver Screenings. Click here for more information and links to participating blogs.
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Credits: A film by Max Ophuls
Based on a play by Arthur Schnitzler
Adaptation by Jacques Natanson and Max Ophuls
Dialogue by Jacques Natanson
Music by Oscar Straus
Director of photography, Christian Matras
Sets by Jean d'Eaubonne, assisted by Alfred Marpaux and Marc Frederix
Costumes by Georges Annenkov
Editor, Leonide Azar
References:
The World of Yesterday by Stefan Zweig (1942) translation by Anthea Bell (Pushkin Press, 2009; University of Nebraska Press, 2013)
Preston Sturges by Preston Sturges: His Life in His Words, adapted and edited by Sandy Sturges (Simon and Schuster, 1990)
Stanley Kubrick: A Biography, by Vincent LoBrutto (Donald I. Fine Books, 1997)
Vincente Minnelli: Hollywood's Dark Dreamer by Emanuel Levy (St. Martin's Press, 2009)
Incredible post. Even though I haven't seen this film, it feels like you've captured its poetic, ethereal beauty.
ReplyDeleteThanks for sharing your thoughts – and all that great research! – with us. This post could be its own Criterion Extra, and I'm bookmarking it so I can refer to it when I finally see this film.
Thanks so much for joining the Criterion party! ;)
Thank you, Ruth. Ophuls's American films occasionally pop up on TCM, but his last four French films are all must-see (damn the subtitles, full steam ahead).
DeleteAnd thanks for co-hosting a great blogathon for the very deserving Criterion Collection.
I am ashamed to say I have not seen any of Ophuls films, but will have to rectify that soon. Your background information is incredible, a Silver Screenings mentioned. A truly great addition to this blogathon.
ReplyDeleteJohn, you must catch up on Max Ophuls! As a photographer, I'm sure you will appreciate (and possibly be amazed by) how fluid - and complementary - his camera work is. And thanks!
DeleteWonderful and informative article. "La Ronde" makes me dizzy with delight.
ReplyDelete"A shot that does not call for tracks
Is agony for poor old Max,
Who, separated from his dolly,
Is wrapped in deepest melancholy.
Once, when they took away his crane,
I thought he’d never smile again."
- James Mason
...and Mason would know, having seen Max in action when he starred in Caught. Thanks, CW.
DeleteLady Eve - I usually read the subtitles anyway, and it often seems like that scene in Last of the Mohicans where several languages are being spoken and translated at the same time, often distracting. Anyway I wanted to mention in the last response that the Schnitzel play was also excellent. It was broadcast on PBS many years ago.
Delete"La Ronde" has been on my list for many years. I really need to see it, considering how much I like "The Earrings of Madame de..." Even the still photos you selected have a certain elegance to them.
ReplyDeleteYour comment on the elegance of the images I posted reminds me that I didn't mention the set design on "La Ronde" - elaborate fairytale-like sets, extremely detailed and gorgeous and reflective of the time. The film is a delight in every way and I'm sure you won't be disappointed, CFB.
DeletePatty - you're posts are always so beautifully done. This is one of those films I know I should see, but somehow never have. Thanks for shining an intriguing spotlight on it and whetting the appetite.
ReplyDeleteThank you, Marsha, I'm glad you think so. And flattered. Hope you will see La Ronde one day, I'm pretty certain you will like it. It might interest you that, according to a Vincente Minnelli biographer, Minnelli felt that much was lost in the transition from silent to sound films, that movies had become too dialogue-heavy and stagy. But in the films of Ophuls he found a visual expressiveness and attention to mise en scene that inspired him and helped in the development of his own style.
DeleteI haven't seen this particular Ophuls film, but after reading your lovely post, my appetite is whetted. On with the dance! And thanks!
ReplyDeleteLa Ronde is beautifully made - and filled with wit. I hope you will see it, GOM, because I know you will enjoy it.
DeleteThanks for this interesting post!
ReplyDeleteI like La Ronde very much, especially the Danielle Darieux/Fernand Gravey part with witty dialogues between the wife and his husband.
And of course, as an Anton Walbrook's fan, i like all his appearances. But i have a big complain: i don't know why, exept for the first (beautiful) scene, Walbrook is dubbed!
Congratulations for you lovely blog,
Marieno.
Thank you, Marieno. I am also an Anton Walbrook fan - and of Danielle Darrieux, too. Such great talents. I know that Isa Miranda was also dubbed in La Ronde - perhaps because neither she nor Walbrook were French. I'm not sure. Regardless, it is still a wonderful film.
DeleteYes but he could talk in a very good french as in the first scene which is a wonderful but complicated scene especially for a non french talking actor: a long, long "one shot" with a long, long travelling: it is his real voice so i don't know why he is dubbed for the rest of the movie...i looked for an answer but never found it...
DeleteRegards,
Marieno.
Excellent selection Lady Eve, and a terrific summation of the film, Ophuls, and his times. La Rohde is truly a brilliant film .I'm sure you will make some new fans of the film.
DeleteThank you, Christian, and I hope I do have something to do with minting new fans of La Ronde. By the way, I envy you for not needing subtitles when you watch French films.
DeleteI HAVE to see this -- it sounds wonderful. I love the idea of intertwining stories, and I'm a huge Anton Walbrook fan. This sounds like a perfect role for him. I've never gone to great lengths to get to know foreign films, although I have done so more in the last few years than ever. I have to say some of your posts have been responsible. Thanks for cueing me in to one that sounds great.
ReplyDeleteI think you will enjoy La Ronde, Becky, for what it is and for how perfectly it is constructed - and for Anton Walbrook in a fabulous role. Ideal casting!
DeleteP.S. I am SO excited. I looked on Hulu Plus, and they have a Criterion collection there -- about 188 movies I think. La Ronde is there, and The Earrings of Madam de... I can't wait!
ReplyDeleteGreat news - wishing you hours of "plaisir"!
Delete