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Synopsis

Roving with his dazzlingly mobile camera around the decadent ballrooms, bucolic countryside retreats, urban bordellos, and painter’s studios of late nineteenth-century French life, Max Ophuls brings his astonishing visual dexterity and storytelling bravura to this triptych of tales by Guy de Maupassant about the limits of spiritual and physical pleasure. Featuring a stunning cast of French stars (including Danielle Darrieux, Jean Gabin, and Simone Simon), Le plaisir pinpoints the cruel ironies and happy compromises of life with a charming and sophisticated breeziness. —The Criterion Collection

Director

Original

Max Ophüls

Max Ophüls (born Maximillian Oppenheimer, 6 May 1902, Saarbrücken, Germany – 25 March 1957, Hamburg, Germany) was an influential German-born film director who worked in Germany, the United States and France. He made nearly thirty films.

He started his career as a stage actor in 1919 but moved into theatre production in 1924. Two years later, he became creative director of the Burgtheater in Vienna and, having had 200 plays to his credit, turned to film production in 1929, when he became a dialogue director under Anatole Litvak at UFA in Berlin. He worked throughout Germany and directed his first film in 1931, the comedy short Dann schon lieber Lebertran (literally In This Case, Rather Cod-Liver Oil).

Of his early films, the most acclaimed is Liebelei (1933), which included a number of the characteristic elements for which he was to become known: luxurious sets, a feminist attitude, and a duel between a younger and older man.

Predicting… read more

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Francisco R.

17Nov11

Anthologies on film have never been my cup of tea, and no matter how proficient Ophüls may be with his camera it didn't make the experience any more enjoyable for me, still, I thought it was pretty good considering the time it was made.

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CVH

6Sep11

Rated 'Le Plaisir' 4 out of 5 stars. COMMENTS: A film with balls.

Video Session

10Jul10

Outstanding...

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IA

6May10

Some of Ophuls' most flamboyant camera work, but partly at the expense of story, as in the grossly flashy climax shot of "The Model." Ophuls has been praised for supposedly transcending Maupassant's cynicism, but what some interpret as cynicism is really a refusal of sentiment in place of astringent irony. Ophuls' adaptation sometimes hides in its technique and soft-pedals Maupassant's irony by sentimentalizing the characters.

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Untitled

By Tom Alexand​er on December 2, 2008

Familiar Ophuls period-piece roundelay, featuring three stories (all adapted from Guy de Maupassant). In the first, an elderly man hides behind a mask and dances furiously at balls until he passes…  read review

Untitled

By asuraf on November 30, 2008

Max Ophuls and screenwriter Jacques Natanson adapt three stories by Guy de Maupassant, about the joys, frustrations, and fleeting glories of a life of pleasure, and like “La Ronde” before and the following…  read review

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