[ REVIEW ]

 

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Lola Montes (1955)

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 (บรรยายอังกฤษ)

äҹҴٵç : Ҿ¹ҡҾԧѵʵͧ˭ͧӡѺ Max Ophüls ҧҡ "La vie extraordinaire de Lola Montès" ͧ Cécil Saint Laurent ˹ѧͧش¢ͧ ˹ѧ§ͧ㹪Եͧ ˹ѧͧçѹӡѺ Jacques Demy ҧ˹ѧիͧ Lola (1961) ͧ äͧ Max by Marcel Marcel Ophuls ١¢ͧ

 

 
 

Director:Max Ophuls Producer:Albert Caraco, André Haguet, Anton Schelkopf Written by:Max Ophüls, Annette Wademant,

Jacques Natanson, Peter Ustinov, Franz Geiger Story by:Cécil Saint-Laurent (based on the novel by: "La vie extraordinaire de Lola Montès") Music:Georges Auric Cinematography:Christian Matras Edited:Madeleine Gug(French version), Jacqueline Sadoul,

Adolf Schlyssleder Running time:1h 56min  Country:France Language:French, German, English  Genre:Biography, Drama, Romance  

Subtitle:English  Starring:Martine Carol ... Lola Montes, Peter Ustinov ... Circus Master, Anton Walbrook ... Ludwig I, King of Bavaria,
Henri Guisol ... Horseman Maurice, Lise Delamare ... Mrs. Craigie, Lola''s mother, Paulette Dubost ... Josephine, The maid,
Oskar Werner ... Student, Jean Galland ... Private Secretary, Will Quadflieg ... Franz Liszt, Héléna Manson ... Lieutenant James'' Sister,
Germaine Delbat ... Stewardess, Carl Esmond ... Doctor, Jacques Fayet ... Steward, Friedrich Domin ... Circus Manager,
Werner Finck ... Wisböck, The artist, Ivan Desny ... Lieutenant Thomas James
 

 

Storyline:
Lola Montès is a visually ravishing, narratively daring dramatization of the life of the notorious courtesan and showgirl, played by Martine Carol. With his customary cinematographic flourish and, for the first time, vibrant color, Max Ophuls charts the course of Montèss scandalous past through the invocations of the bombastic ringmaster (Peter Ustinov) of the American circus where she has ended up performing. Ophulss final film, Lola Montès is at once a magnificent romantic melodrama, a meditation on the lurid fascination with celebrity, and a one-of-a-kind movie spectacle.


Special Features:
- New, restored high-definition digital transfer
- Audio commentary featuring Max Ophuls scholar Susan White
- Max Ophuls ou le plaisir de tourner, a 1965 episode of the French television program Cinéastes de notre temps, featuring interviews with many of Ophulss collaborators
- Max by Marcel, a new documentary by Marcel Ophuls about his father and the making of Lola Montès
- Silent footage of actress Martine Carol briefly demonstrating the various glamorous hairstyles in Lola Montès
- Theatrical rerelease trailer from Rialto Pictures
- New and improved English subtitle translation
- A booklet featuring an essay by film critic Gary Giddins


Trailer:


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Review:
One of the signs of a great director is his ability to sustain a consistent personal tone throughout a film. The work of certain directors can be recognized almost at once; a few hundred feet of Godard or Fellini are sufficient. Max Ophuls was such a director, and his "Lola Montes" has as much unity of tone as any film I can remember.

It is all of a piece from beginning to end: The mood, the music, the remarkably fluid camera movement, the sets, the costumes. It is a director''s film. The actors are in Ophuls'' complete control, an additional element in his examination of the romantic myth.

His story involves the infamous Lola Montes, "The Most Scandalous Woman in the World," the mistress of Franz Liszt and King Ludwig of Bavaria, of students and artists, of soldiers and ringmasters. We find her in a New Orleans circus, the star attraction in a review of her sensational career. Peter Ustinov, the ringmaster, narrates her past as Lola revolves on a platform. Later the customers will have their chance to spend a dollar and kiss her hand.

The device of the circus is as successful as it is daring. Using it to supply his narrative thread, Ophuls slides through a series of flashbacks with as much ease, and psychological completeness, as Welles exhibited in "Citizen Kane." The structure of the film is terribly artificial flashbacks suspended from a fantasy circus and the style itself is a highly mannered romanticism. But it works; Ophuls understands and justifies his method.

He is not so successful, unfortunately, with the performance of the late Martine Carol in the title role. Famous in the 1950s as a sort of prototype Bardot, Miss Carol was a third-rate actress, and she comes across as wooden, shallow, not even very attractive.

Ophuls apparently needed Miss Carol''s box-office name to help justify his $1,500,000 budget (this was the most expensive French film to date when it was completed in 1955). He tries to make an advantage of her weakness by directing her almost as a doll; her function is to watch impassively while her lovers save her scenes. The best performance in the film is by Anton Walbrook as the deaf, touching old king. Peter Ustinov is typically excellent. Oskar Werner, as a young student, is not much better than ever.

Note: "Lola Montes" was a commercial flop when Ophuls released it in 1955. He died two years later, still engaged in a battle with the film''s producers. A savagely butchered version was in circulation for a few years. Through the efforts of the Village Voice''s Andrew Sarris and other lovers of the film, the original, uncut version was shown at the 1963 New York Film Festival and again at last year''s festival.
Rober Ebert''s Review



 





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