Simone Signoret, Anton Walbrook, and Simone Simon lead a roundelay of French stars in Max Ophuls's delightful, acerbic adaptation of Arthur Schnitzler's controversial turn-of-thecentury play La ronde. Soldiers, chambermaid... more »s, poets, and aristocrats, all are on equal footing in this multicharacter merry-go-round of love and infidelity, directed with a sweeping gaiety as knowingly frivolous as it is enchanting and shot with Ophuls's trademark intricate cinematography. SPECIAL EDITION FEATURES: New, restored high-definition digital transfer, Audio commentary featuring film scholar Susan White, author of The Cinema of Max Ophuls, Interview with Max Ophuls's son, the Academy Award winning filmmaker Marcel Ophuls
Interview with actor Daniel Gelin (Napoleon, Testament of Orpheus)
Interview with film scholar Alan Williams, Selected correspondence between Sir Laurence Olivier and Heinrich Schnitzler (the playwright's son), illustrating the controversy surrounding the source play
New and improved English subtitle translation. PLUS: A new essay by film critic Terrence Raffert« less
"It was a happy day when I first heard Criterion was finally releasing Max Ophüls' two great films, La Ronde and Earrings of Madame De. Ophüls is known for his brilliant tracking shots and elaborate camera movements (which influenced Stanley Kubrick). He is also known for his black-and-white French bedroom farce, La Ronde (1950), starring Anton Walbrook, Simone Signoret, and Gérard Philipe, based on Arthur Schnitzler's controversial 1897 play, Reigen. (Adolf Hitler considered Schnitzler's play obscene for its depiction of the sexual morals and class ideology of its day. Schnitzler, a doctor, recognized that syphilis was not limited to certain layers of Viennese society.) La Ronde ("The Roundabout") follows a series of stories about love affairs that end with one of the partners forming a new sexual liaison with another person. A soldier (Serge Reggiani) first meets a prostitute (Simone Signoret) and then has an affair with a young parlor maid, who then has sex with the young man of the house, who in turn has sex with a young wife, who then has sex with her husband, and so on until the film completes its circle with a Count (Gérard Philipe) having sex with the same prostitute. La Ronde is technically brilliant, the cinematography sparkles, and this is truly great cinema. Roger Ebert calls Ophüls' films "one of the great pleasures of the cinema."
The Criterion edition features a newly restored high-definition digital transfer; audio commentary featuring film scholar Susan White, author of The Cinema of Max Ophuls; an interview with Academy Award-winning filmmaker Marcel Ophuls, discussing his father's work; an interview with actor Daniel Gélin (Napoléon, Testament of Orpheus); an interview with film scholar Alan Williams; selected correspondence between Sir Laurence Olivier and Heinrich Schnitzler (the playwright's son), illustrating the controversy surrounding the source play; new subtitle translation; and a new essay by film critic Terrence Rafferty.
G. Merritt"
A feast for the eyes
David Juneau | USA | 04/03/2001
(5 out of 5 stars)
""La Ronde" succeeds on many levels. The screenplay, adapted from the play by Arthur Schnitzler, is witty and provocative. It has a lightness of touch and delicate irony that is peculiar to the French. The performances are excellent-especially Danielle Darrieux's portrayal of an adulterous wife. However, the real distinction of this movie is it's visual style. The black and white cinematography is anything but flat. There are layers and textures in this film that are a feast for the eyes. The sumptuous set decorations are beautifully ornate-almost baroque. "La Ronde" is replete with camera angles reminiscent of "Citizen Kane." There is a fantastic overhead shot of a young courtesan whose head is in the center of hanging light fixture-or chandelier. This aspect is that of a poet who is idealizing her. It is an absolutely brilliant moment. Ophuls has a wonderful sense of movement. The long tracking shots and circular motion complement, instead of detract from, the action and emotion of the story. Particularly dazzling are the carousel scenes where circles run counter to one another. One might say that the omnipresent narrator is rather intrusive, but he grows on you. He's French, after all......"
A movie once seen you'll never forget it
Bomojaz | South Central PA, USA | 01/12/2006
(5 out of 5 stars)
"
A classic "round" of vignettes, each about love, each vignette blending into the next by means of a single character, like passing a baton in a foot race, until we're back at the beginning again. It begins with a young prostitute (played by Simone Signoret) meeting a soldier (Serge Reggiani) and ends, after about six vignettes, with a different soldier (Gerard Philipe) paying a visit to Signoret. All of it is held together by a raconteur, played superbly with just the right amount of sardonic wit by Anton Walbrook, who steals the picture.
Max Ophuls's production is very stylized, with rococo turn-of-the-century sets. It's light and witty, but insightful, too, with the emphasis on the fleeting aspects of love and the vanity and double standards held to by the male of the species. The movie has everything going for it: a brilliant idea, a wonderful script, great acting, and terrific camerawork. Movie-making at its finest. [It was banned in America for four years on obscenity charges: the women enjoy their illicit love affairs a little too much for the censors' tastes at the time. Finally they came to their senses - the censors, I mean.]"
Still entrancing over 50 years later
Bomojaz | 12/16/2001
(5 out of 5 stars)
"My high school French teacher took the whole class to see this picture and I found it charming and fell in love with Danielle Darrieux. I enjoyed it even more a half century later, I was impressed with the excellent picture quality. All the actors spoke beautiful French,clear enough to make it an excellent teaching lesson. I admire the courage of my French teacher given some controversy at the time. The music in the VCR soundtrack seems rather poorly preserved, perhaps a DVD recording at some time could help improve the music quality."
An Alltime Favorite On DVD At Last.
Chip Kaufmann | Asheville, N.C. United States | 10/11/2008
(5 out of 5 stars)
"This 1950 film was considered quite scandalous in its day especially in America. The essential premise of characters having sex without marriage shocked conservative moviegoers even though it was done with wit and style and doesn't show you anything improper. It was based on an 1897 play by Viennese doctor turned playwright Arthur Schnitzler called REIGEN which created even more of an uproar back then. Adolf Hitler considered it absolute filth.
I first saw this film back during my college days and dreamed of playing on stage the narrator who is interactive throughout the story. Imagine my surprise when I obtained an English copy of the play and discovered there was no narrator in it! The filmmaker had created the character to enhance the film and indeed he does. As played by Anton Walbrook (the impresario of THE RED SHOES), he is the epitome of Old World grace and charm and has the best lines as well. No wonder as he is supposed to be the alter ego of the director himself.
The title REIGEN (ring or circular movement) refers to the nature of the play where one character has sex with another who then has sex with someone else and so on until, coming full circle, it ends with a final character having sex with the first one. All of the encounters take place off camera and there are even amusing attempts by the narrator (who introduces each character) to occasionally censor the action. The symbol of this "circle of love" which occurs throughout the film is a carousel or merry-go-round.
The film was made by Max Ophuls, a German filmmaker who wound up in France by way of the United States. His films are famous for his continually moving camera and interesting visual compositions. He was reportedly Stanley Kubrick's favorite director. Aside from the Austrian born Walbrook, the film features the top French acting talent of the day including Danielle Darrieux, Jean-Louis Barrault, and just starting her career, Simone Signoret. The celebrated music, including the LA RONDE theme, was composed by Oscar Straus (no relation to Johann).
I could go on and on about this film but I'll restrain myself. The simplest thing for you to do is to go out and rent it to see for yourselves and I wouldn't be surprised if you wind up buying it. Of course it is "old-fashioned' filmmaking. It's in black and white, has elegant tracking shots, and is full of characters who have something to say (even if it's in French) which means its appeal will unfortunately be limited to those who prefer more "upscale" fare. Yet if you take the time to sit back and take it in (and that's important), then you'll be amply rewarded. It's a film you may find yourself returning to again and again. This Criterion edition is beyond reproach."