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.
After a brief but successful stay in Hollywood German-born Ophuls returned to his adopted France and ended his career with four highly regarded films, of which this is the first. Set in a fairytale Vienna quite unlike the one shown by Reed in the previous year's The Third Man, Walbrook is the master of ceremonies who narrates a series of stories about brief encounters and love affairs. Stylish and supremely elegant..