+A tad too gaudy for my admittedly non-palatine palate, Lola Montes is interesting for the feedback loop of memories and accrued somatized discomfort it plays through its central character, each reenactment of a disreputed life dragging to surface layers that seldom fail to take a toll. Lola is a witch of yore in updated costume: her ambivalent cult involves both the spell of celebrity and gleeful joy at her burnout.
A gorgeous mise en scene and heady colour palette are the chief delights - if not raison d’etre - for viewing this otherwise stiff narrative cadaver which offers little tangible insight into the motivations or mores of Montes. The episodic structure doesn’t help and one leaves the film elated by it’s exquisite art direction but little else, although the freak show exploitation is rather chilling.
3.5, the ambition is just to take his marvelous command over the craft and deploy it like sandpaper to wood. Montes is not only more passive than I imagined, but also with less interiority, a decision which serves to buttress the high level of aesthetic pretension while making it all feel a little disingenuous. The clown/manager actor gives so much to his role, you realize what you're missing. Brilliance, at a cost.
Seen on 35mm, with Marcel Ophuls present. This may be Max Ophuls at his most abstract, which is still endlessly inviting: it begins on startling surreal harshness, moves through melancholy and joy, and ends on a note sadder than if it took the more melodramatic way out. Along the way, it writes (in calligraphy) an eloquent version of female notoriety that everyone from Ingrid Bergman to Miley Cyrus could relate to.
Cette somptueuse représentation nous montre, entre autres, sa relation amoureuse avec Liszt, son aventure avec un prestigieux chef d'orchestre transalpin, sa liaison avec le roi Louis 1er de Bavière, son mariage manqué avec un ancien soupirant de sa mère... www.cinefiches.com
I used to dislike Ophuls cinematic style because of Letter From an Unknown Woman and La Ronde, i find them too melancholic and uninteresting plot-wise, but this film.. everything are just perfectly placed, it has Mannerist composition quality, every movement are articulately calculated. The Brechtian distancing used very effectively on Lola. the criticism of aristocracy, both in social and cinema are hilarious.
Beautiful? Definitely, and some interesting points made about the "everything is for sale and use" -mentality. Unfortunately, this just seemed more like a colourful chaos, and ultimately disappointing and a tad too ambitious for an Ophüls film. There's no intimacy left, nor the quietly sad tone that I've liked so far in his other works.