A strange Ophuls. In a sense, this is as pure a representation of the Ophulsian metaphysic as any film he ever made. The director is clearly fully engaged w/ the material. But there is something quite unpleasant about Walbrook's authorial position, his intrusions. Even more, the theme of the persistence of transient passion becomes tiresome, redundant. Still, the prostitute/count scene is Ophuls at his very best.
Max Ophuls is the man!!! When your heros (Paul Thomas Anderson&Wes Anderson) mention him as an influence, you are obliged to check it out. Now i want to watch everything directed by him. And this film has everything i like about art - its aware of the fact that it is a spectacle thanks to the witty omniscient narrator who informs us from the beginning that he know it all but still sustains our interest.
To my enormous surprise, I really didn't like this film. I found it cynical, disingenuous but above all terribly dated in its unappealing presentation of women (and men as well I suppose, but they are just cyphers in this film). I mean, it's not that old. Maybe it's just French. The visuals are pretty and the carousel metaphor charming.
The carousel is a great metaphor to begin with but the mechanical failure moment just makes it hilarious. Great film about promiscuous sex within the bounds of 1950's censorship, Ophuls really pushes the envelope.If you like this one, also see THE EARRINGS OF MADAME DE...
Omniscient master of a carousel leads us through a romantic relay race where characters fall in love with each other. Based on Arthur Schnitzler's 1897 play "Merry-Go-Round", an elegant, ironic, sexy and quietly desperate poem about the sublime futility of life and beauty. An absolute masterpiece that shouldn't be missed by anyone who fancies himself a film lover.
Se Dio fosse stato sulla terra negli anni cinquanta probabilmente non avrebbe girato un film più bello di questo. Grande cast, belle le scenografie ed i costumi ma il motivo migliore per godersi il film sono i movimenti di macchina di Ophuls: una piccola gioia. Nota a margine: che differenza la censura italiana e quella francese di quegli anni e che ironia nella scena del taglio della pellicola.
For witty high-concept movies with absolute control of visual delight embedded with melancholic musings on social class and the silly boundaries we put between us and our heart, this movie comes with full endorsement! I was surprised how 97 minutes could feel like thirty. Its breezy, full of artifice and yet captures an emotional reality that I seriously need to return to as soon as possible!
It tries to hard to be charming if you ask me and everything feels so false with the disney fairytale concept of a storyteller and angelic choirs and strings that it adopts so wholeheartedly. There are amusingly playful moments in there of course and the cinematography as always with Ophüls is a delight but it didn't do it for me.