In Ophüls’s final effort, the once notoriously divisive but now universally beloved Lola Montès (1955), the swirling delirium of his camera reaches a fever pitch. . . . Ophüls’s only color and widescreen effort, Lola is an impossibly lush, swooning masterwork. The heroine’s dalliances are all colored by bitterness and failure, but they also evoke the immediate passion of their given moments; over and over, we watch love bloom even as we already know that it’s doomed.
January 05, 2018