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Archive for the ‘Jean Louis Barrault’ Category

La Ronde – Ophuls

14 May

La Ronde – Directed by Max Ophuls. Satire. Eleven stories of French lust promiscuating until they circle around and meet up once more. 93 minutes Black and White 1950.

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By the merest chance I saw this picture immediately after The Marriage Circle, a silent of Ernst Lubitsch. Both films have the same title and the same temperament of approach to the material, which is seriously humorous. They both deal with promiscuity, which in the French version is carried out and in the American version, of course, is not carried out. In both versions the women are the sensitive ones and the men the fools. The treatment is quite different, but the idea that lust is important is held up to the deracinating light of a wise smile. Ophuls’ movie is based on a play of Schnitzler which caused a riot, and a scandal, and an outrage, for it illustrated how sexual disease is transmitted. Ophuls’ version knows nothing of this. His version uses the word, l’amour, but it has nothing whatever to do with love; lust is the subject. 11 congresses link arms, but each one is told by the camera so luminously that nothing particular is actually illuminated. The sheen both allures and monotonizes the material. But we do have the wonderful décor, the fabulous lighting, and Ophuls’ terrific dolly shots which give us a barrier through which to peep at the principles. His placement of actors in motion, his symmetry, his fancifulness, his artifice and artificiality – all serve his turn. He has many superstars in this film, but the real superstar is his camera. His camera is the actor, the strong one, who reveals the forgivable nothing of l’amour. His cast is brilliant, particularly when you realize that some of the women playing teenagers are completely convincing although well into their thirties. Gerard Philipe is perhaps the best, as a chocolate soldier count in full regalia, entering the dressing room of a renowned comedienne and looking about sensitively at a setting which he judges to be far from noble. What a perfect decision for an actor to make. Simone Signoret, Simone Simon, and the magnificent Danielle Darrieux are wonderful. I saw this film when it first came out. I thought I was going to a dirty picture that would tell me something about sexual attraction, and I left feeling poisoned by it. Now I can see the truth of it. Which is that sexual attraction is simply a movie camera: it glamorizes, it luminizes what it lights on, and leaves it impenitently when the light moves on. This for me now is the masterful truth of this film.

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