The filmmaking is brilliant in part because, like Bel Geddes’s deceptively modest performance, it is so apparently unassuming. “Caught” could be described as the least showy movie Orson Welles ever made. Ophuls’s use of long takes, deep focus, looming angles, noir lighting and overlapping dialogue equals that of Welles and achieves greater fluidity. As if to force the comparison, Ohlrig’s palace is a set to rival Kane’s Xanadu or the “Magnificent Ambersons” mansion.
July 09, 2014