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Max Ophüls explores the scandalous life of dancer and courtesan Lola
Montes with a bittersweet empathy that turns melodrama into a tragic
melancholy masterpiece. Using the theatrical re-creation of Lola's life
in a big-top pageant as a framing device, Ophüls contrasts the
outrageous sensationalism of her reputation with poignant, poetic
flashbacks that explore her many affairs, most notably with Franz Liszt
(Will Quadflieg) and King Ludwig of Bavaria (Anton Walbrook). Lola's
greatest tragedy is that she loved well, if not too wisely. If Martine
Carol's central performance is lacking passion, as many critics have
argued, her quiet, at times seemingly passive demeanor makes her a
veritable prisoner of her society and her reputation. Swept along by
Ophüls's sweeping camerawork, which glides through the film in a
balance of intimacy and contemplative remove as if on the wings of
angels, her life becomes like a cinematic ballet with Ophüls the
choreographer and conductor. Peter Ustinov costars as the jaded circus
ringmaster, who nightly narrates her exploits to a throng of
scandal-hungry spectators, while she performs with a face hardened in
indifference, resigned to her empty role as a figure of spectacle in a
garish gilded cage. Shot in delicate color and impeccably composed compositions throughout by Ophüls's regular cinematographer
Christian Matras, Lola Montes is his most beautiful and restrained film, a fitting swan song for one of the cinema's most sensitive directors. --Sean Axmaker
In another of his classic Westerns, John Ford again reflects upon the
advance of civilization on the receding frontier, recounting the events
leading up to and including the legendary gunfight at...~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
DRUMS ALONG THE MOHAWK is John Ford's first film in Technicolor (which
recently perfected far richer shadings of color than had previously
been possible), and the director uses it to stunning...
One of the greatest of 1950s screen musicals is a happy collaboration
between the grace and athleticism of Gene Kelly and the colorful
palette of director Vincente Minnelli. An American G.I....
LOLA MONTES, the last film by Max Ophüls, is one of the most celebrated
examples of both wide screen CinemaScope and lush Technicolor in film
history. Added to this is Ophüls' usual use of sweeping...LOLA
MONTES, the last film by Max Ophüls, is one of the most celebrated
examples of both wide screen CinemaScope and lush Technicolor in film
history. Added to this is Ophüls' usual use of sweeping crane shots and
angled tracking shots, making this a beautiful, creative film. It is
the story of Lola Montes (Martine Carol), the 19th Century dancer who
was famous for her scandalous affairs with everyone from Franz List
(Will Quadflieg) to Ludwig, the King of Bavaria (Anton Walbrook). At
the end of her career she was the main attraction at a circus in the
United States which featured a lavish tableaux of scenes from her life.
The ringmaster, played by Peter Ustinov, leads the circus audience
through her life, and also cues the cinematic flashbacks. Ophüls had
used a similar structure in his adaptation of Arthur Schnitzler's play
REIGEN in his film LA RONDE. Here, although not in chronological order,
the flashbacks span Lola's life, covering everything from her early
unhappy marriage to a drunken military officer, who she leaves to
embark on a career as a dancer, to a very short affair with a German
student played by a young Oskar Werner. Ophüls, with his always-moving
camera, gives the story a wonderful sense of historical drama.
Imported from Korea , this comes with korean subtitle with on and off option. (It's possible that some Korean description is added on cover and menu)
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