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La Ronde
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by Commercial Pictures
Sales Rank: 119015
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The exquisite circularity of the roundelay has always been an attractive cinematic device, but never has it been used with more delicacy and canny insight than in <I>La Ronde</I>, Max Ophüls's adaptation of the Arthur Schnitzler play <I>Reigen</I>. The camera glides, swirls, and delicately dances around fleeting moments between lovers, from chance meetings and secret trysts, to the sincere but hopeless courtship by a besotted admirer, to the relaxed banter of cuckolding married couples. Ophüls's wry glimpses behind closed doors and pulled curtains are both cynical and sweet, generous of character but suspect of motive. As one scene ends, we waltz along as the characters change partners and dance again and again; we follow streetwalkers and soldiers, courtesans and counts, until we come full circle. Returning to the superb metaphor of the carousel, where dapper Anton Walbrook wanders about as host and commentator (a sort of literary ringmaster, like Peter Ustinov in <I>Lola Montes</I>), Ophüls plays at the game of love with a cocked grim and a sly jab, though he never belittles or judges. What could easily have descended into farce is lifted into loving satire by Ophüls's elegant touch and sparkling wit. A huge success in Europe, its continental attitude wasn't embraced by American audiences at the time. But it has come to be regarded one of Ophüls's finest and most beautifully visualized films. Everyone is somebody's fool, and isn't it wonderful? <I>--Sean Axmaker</I>
Viewer Reviews
A chocolate confection of a movie.
Set in Vienna circa 1900, based on a play by Viennese playwrite Arthur Schnitzler, it's a series of vignettes more about lust than love. The vignettes flow together by having one person appearing in the next -- generally being the seducer in one, the victim in the other.
As I understand it, Ophuls moderated the promiscuous tone of Schnitzler's play. There is definitely a sense of regret and loss over these random flings despite their inevitableness.
Still, the tone is mostly light, almost flighty at times. There's a master of ceremonies (Anton Walbrook) holding the entire thing together, as well as a pretty melody by Oscar Stauss. There are even the daring intrusions of moviemaking -- a clapboard, a filmstrip with the presumed sex scene being cut out -- and, one time, a hugely amusing bit of symbolism with the merry-go-round.
As with LE PLAISIR, many fine French actors appear. Sometimes, the same ones. Danielle Darrieux (at her most beautiful). Simone Simon. Daniel Gélin. Jean-Louie Barrault (a little over-the-top). Simone Signoret. Gérard Philipe (a beautifully nuanced performance).
Similar to LE PLAISIR -- but different. And about equal in quality and enjoyment.
The Criterion DVD's transfer seems pristine. It's extras include a fine film commentary by an Ophuls expert, Susan White. Also an informative presentation by writer Allan Williams, and interviews with Daniel Gélin (1989) and son of Max, Marcel Ophuls (2008).
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