For a better experience on MUBI, update your browser.
Kritiker-recensioner
Lola Montès
Max Ophüls Frankrike, 1955
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
Läs hela artikeln
The tableaux flamboyantly fill the space of the circus, reaching to its very top with Lola’s rise to power and fame, while a death-defying plunge down into a small net, precariously placed just above the floor of the ring, represents her fall. The tableaux trigger flashbacks into Lola’s memory… These scenes are constantly de-naturalised, however, by Ophüls’ extraordinary mise en scène: real-life landscapes are coloured and manipulated almost like film sets.
December 22, 2016
Läs hela artikeln
The film is a colossal spectacle about colossal spectacles, and the extravagant palette, the cavernous sets, and the wide-screen images in which Ophüls entombs Lola (and Carol) contrast cruelly with the real-life pathos of the femmes fatales, which the director’s own magnificent artistry both exploits and exalts.
April 15, 2016
Läs hela artikeln
The overriding subtext of Lola Montès emerges more strongly in our own time, besotted as we are with celebrities, now more accessible than ever through all the technological advances in personality magnification and projection. As the ever menacing Sarah Palin proves once again that mere mediocrity is no obstacle to gaining a frightening degree of power, the Ophüls vision is timelier than ever.
October 07, 2008
Läs hela artikeln