Lola Montes

Based on the novel by Cecil Saint-Laurent, Lola Montes is the story of the life of the Irish dancer/courtesan who would embark on scandalous affairs with many men as she would later work for a circus where its ringmaster would tell her life story. Directed by Max Ophuls and screenplay by Ophuls and Annette Wademant with dialogue by Jeff Natanson, the film is the look of a woman’s journey as she tries to find herself in a decadent world as the titular character is played by Martine Carol. Also starring Peter Ustinov, Anton Walbrook, Will Quadflieg, Oskar Werner, Ivan Desny, and Henry Guisol. Lola Montes is a ravishing and elegant film from Max Ophuls.

Set during a circus performance in the mid-19th Century, the film is about the life of a courtesan who has become a circus performer that has her telling her many exploits with different men where she was once revered for her dancing and role in high society and then fall from grace due to scandal. The film is told in a reflective back-and-forth narrative where the main body of the story is set at a circus with the titular character thinking about her past exploits that added to not just her legend but also notoriety. The film’s screenplay by Max Ophuls and Annette Wademant takes this back-and-forth narrative that has Montes not just thinking about moments in her life but also having to display them in some kind of performance for the circus with the ringmaster (Peter Ustinov) is being a narrator of sorts for these exploits. Notably as it would involve the composer Franz Liszt (Will Quadflieg), her mother’s boyfriend in Lt. Thomas James (Ivan Desny), the famed conductor Claudio Pirotto (Claude Pinoteau), and King Ludwig I (Anton Walbrook).

Ophuls’ direction is definitely lavish and stylized in the way he presents the story of this woman’s exploits. Shot on various locations in Paris, Nice, and Munich with several scenes shot on studio soundstages, the film definitely play into this world of fantasy that is presented in the circus scenes that is mixed in with this reality that is full of elegance but also decadence. Ophuls’ precise usage of compositions whether it’s in the wide shots, medium shots, and close-ups help play into the attention of detail over not just the set pieces of the circus and what goes on behind the scenes. It’s also in the world that Montes had lived in where much of her journey has her riding in this spacious carriage with a couple of longtime servants as each journey and lover would represent a chapter in her life.

Ophuls’ direction also has him playing with aspect ratios throughout the course of the film though much of it is shot on a Cinemascope aspect ratio to get much attention to detail on the locations and much of the setting that Montes would be in. Particularly as the settings would play into not just Montes’ development as a person but also the realization that her presence would often cause a lot of problems. Particularly in the final story that involves King Ludwig I as it would cause scandal as well as a revolt where Ophuls would put some historical context into the story as Montes being a reason for the March Revolution of 1848. The direction also have Ophuls mirror the scenes of what Montes has experienced in terms of what she is about to perform though it does play into not just her decline in stature but also emotional as she becomes trapped into what she has become in the end. Overall, Ophuls creates a majestic and riveting film about the wild life of a courtesan in the mid-19th Century.

Cinematographer Christian Matras does incredible work with the film’s cinematography with its gorgeous usage of colors to help set the mood for a scene as well as the lighting in some of the film’s circus scenes including a few moments backstage. Editor Madeleine Gug does excellent work with the editing as it is largely straightforward with a few rhythmic cuts to play into the drama. Production designer Jean d’Eaubonne and set decorator Robert Christides do amazing work with the set design from the look of the state sets at the circus to the places that Montes goes to including the palace of King Ludwig I and the interior of her carriage.

Costume designer Georges Annenkov does brilliant work with the costumes from the look of the clothes that the men wore as well as the stylish and lavish dresses that Montes wore throughout the course of the film. The sound work of Hans Endrulat, Jean Neny, and Antoine Petitjean do fantastic work with the sound as it play into the atmosphere of the circus as well as some of the tense sound of rioting during the film’s third act when rioters throw rocks at the palace. The film’s music by Georges Auric is superb for its rich and soaring orchestral score that ranges from being playful in some parts including scenes at the circus to some somber moments as it relates to the drama.

The film’s wonderful cast feature some notable small roles and appearances from Claude Pinoteau as the famed conductor Claudio Pirotto, Paulette Dubost as Montes’ maid Josephine, Henri Guisol as the carriage driver Maurice, Lise Delamare as Montes’ mother Mrs. Craigie, and Oskar Werner in a terrific small role as a young German soldier that Montes would meet on her way to Munich as he would later help her flee the city in the third act. Will Quadfieg is superb as the famed composer Franz Liszt who would be inspired by his affair with Montes to create music that would make him famous. Anton Walbrook is fantastic as King Ludwig I of Bavaria as the Bavarian king who is smitten by Montes in her beauty and work as a dancer unaware of what he’s doing to his own people.

Ivan Desney is brilliant as Lt. Thomas James as the lover of Montes’ mother who becomes concerned for Montes’ well-being only to marry her where it eventually becomes toxic. Peter Ustinov is excellent as the ringmaster who is the film’s narrator of sorts during the circus scenes as he tells Montes’ story while would also meet her in making an offer to join his circus. Finally, there’s Martine Carol in a radiant performance as the titular character where Carol brings this elegance and melancholia to the role as a woman who had been through so much adventure and was full of life during her time as she is a shell of her former self. It’s a performance that has Carol display charm and liveliness whenever she’s happy while being restrained in her sadness that includes that eerie moment in the film’s ending as it is an incredible performance from Carol.

Lola Montes is a phenomenal film from Max Ophuls that features a sensational performance from Martine Carol in the titular role. Along with its ensemble cast, gorgeous visuals, sprawling set design, complex storylines, and a luscious music score. It’s a film that is rich in its look but also this evocative story of a woman’s life that is full of wonder and sorrow as it’s told in style. In the end, Lola Montes is a spectacular film from Max Ophuls.

Max Ophuls Films: (The Bartered Bride) - (The Merry Heirs) - (Liebelei) - (A Love Story (1933 film)) - (Everybody’s Woman) - (The Tender Enemy) - (The Trouble with Money) - (Yoshiwara) - (The Novel of Werther) - (Sarajevo (1940 film)) - (The Exile) - (Letter from an Unknown Woman) - (Caught (1949 film)) - (The Reckless Moment) - La Ronde - Le Plaisir - The Earrings of Madame de... - (The Lovers of Montparnasse)

© thevoid99 2018

Fahrenheit 451 (1966 film)

Based on the novel by Ray Bradbury, Fahrenheit 451 is the story of a fireman who becomes a fugitive over reading literature in a dystopian future where his job is to burn books and all forms of literature. Directed by Francois Truffaut and screenplay by Truffaut and Jean-Louis Richard, the film is Truffaut’s only English-language film as he would take on the world of dystopia. Starring Oskar Werner, Julie Christie, and Cyril Cusack. Fahrenheit 451 is a compelling yet very flawed film from Francois Truffaut.

Set in a world where books are banned and to be burned in fear of subversive activities and anti-social ideas, the film is an exploration into a fireman whose job is to burn these books where he suddenly reads one as he questions everything that he’s doing and the world around him. The concept itself is very unique where the fireman known as Montag (Oskar Werner) would eventually become a fugitive for his actions yet he realizes that the things that he’s oppressing are real feelings and the ideas that make people be alive instead of conforming to what society wants.

The premise itself is definitely intriguing yet it’s told in a style where Francois Truffaut definitely wants to be a bit of Alfred Hitchcock and infuse his own style. Yet, some of the film’s dialogue sounds very unrealistic as it really hurts the story as well as affect some of the performances. Another problem with the script involves Montag’s superior (Cyril Cusack) who is never really defined while Montag’s wife Linda (Julie Christie) is quite one-dimensional as her only motivation is conformity.

Truffaut’s direction does have some very entrancing moments in the way he presents a futuristic world where even though it’s quite colorful. It’s still an oppressive one where it is a world where there are rules and everyone has to act a certain way and watch the same TV show where they can feel like they’re part of something. Truffaut does create some unique compositions as well as some very striking scenes where books are being burned but there are aspects of the film where the suspense doesn’t work. Even in some scenes where it involves special effects as it looked very clumsy as it doesn’t play to Truffaut’s sensibilities as a director. Even in his approach to satire and the little humor that it has doesn’t work along with some dream sequences as it seems that Truffaut is trying to do something but it never really says anything for the story. Despite some of its flaws, the film is still a fascinating film on censorship in a dystopian world.

Cinematographer Nicholas Roeg does excellent work with the film‘s vibrant colors for the look of the town that the characters live in as well as some of the interior lighting schemes that help sets a mood for the film. Editor Thom Noble does fantastic work with the stylized editing with some usage of dissolves and jump-cuts though much of it is straightforward. Production designer Syd Cain, with additional work from costume designer Tony Walton, does brilliant work with the design of the houses and the fire truck where it plays to this offbeat idea of a futuristic dystopia while the costumes are presented in a simplistic manner. The sound work of Robert T. MacPhee and Norman Wanstall is terrific for some of the sound effects that is created as well as the way the sirens sound to play into that sense of terror. The film’s music by Bernard Herrmann is brilliant as it helps play into the film‘s suspense with its orchestral flourishes that also include some unique instrumentals from marimbas, xylophones, and other things to play into the film‘s offbeat sensibility.

The casting by Miriam Brickman is wonderful as it would feature some notable small roles from Alex Scott as a man Montag would meet late in the film, Jeremy Spenser as a man with an apple, Bee Duffell as a woman whom the firemen would confront for having a large amount of books, and Anton Diffring in a dual role as a school headmistress and as the Captain’s associate Fabian. Cyril Cusack is good as the Captain who leads the firemen in burning the books where there’s a lot of charm in his performance but it’s also underwritten where he doesn’t seem to say much about the past which could’ve helped into what Montag wanted to do.

Oskar Werner has his moments as the film’s protagonist Montag but is never really engaging at times as the dialogue he recites is quite stilted since he is German and speaks English quite awkwardly. Finally, there’s Julie Christine in an amazing performance in a dual role as Montag’s wife Linda who is eager to conform and in the role of a schoolteacher named Clarisse who would give Montag some ideas as well as show him a world that it is outside of society.

Fahrenheit 451 is a stellar film from Francois Truffaut. Though it is definitely his weakest picture as it doesn’t really play to many of the ideas that Truffaut would explore with many of his films. It is still an intriguing one for the way he would interpret Ray Bradbury’s famed novel. In the end, Fahrenheit 451 is a pretty good film from Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours

The Auteur #40: Francois Truffaut (Pt. 1) - (Pt. 2)

© thevoid99 2014

Jules & Jim

Originally Written and Posted at Epinions.com on 6/12/08 w/ Additional Edits.

After the release of the 1959 seminal masterpiece Les Quatre Cents Coups (The 400 Blows), Francois Truffaut helped usher in a new era of French cinema simply known as the French New Wave. Helping breaking the doors down for new directors like Jean-Luc Godard, Alain Renais, Eric Rohmer, and Jacques Rivette. A year later, he followed up with Tirez Sur Le Pianiste (Shoot the Piano Player) in his tribute to American cinema. Though it was well-received and loved by many, it wasn't as good as his feature-film debut. In 1962, Truffaut returned with what some considered to be his masterpiece about a love triangle told through the years in the early 20th Century before, during, and after World War I entitled Jules et Jim (Jules & Jim).

Directed by Francois Truffaut, Jules et Jim tells the story of a shy Austrian writer and his extroverted French friend whose lives change through meeting of a young woman. Based on the semi-biographical novel by Henri-Pierre Roche and adapted by Truffaut and Jean Gruault, the film is an exploration into a love triangle that lasts for many years as two men compete for the woman they fall for as well as their desire to please her. Starring Oskar Werner, Henri Serre, and Jeanne Moreau. Jules et Jim

It's 1912 as a shy, Austrian writer named Jules (Oskar Werner) meets a Frenchman named Jim (Henri Serre) as they become friends over their love of Bohemia and women. Yet, with the extroverted Jim often flirting with many women including his frequent lover Gilberte (Vanna Urbino), Jules managed to briefly date a young woman named Therese (Marie Dubois). When they decided to meet their friend Albert (Boris Bassiak), he showed them a slide of pictures he took that included a statue that the two men are entranced by. They go to the site to see the statue as they believe she has the image of the perfect woman. Days later, they meet a free-spirted woman named Catherine (Jeanne Moreau) whom they immediately fall for. Though she is more attracted to Jules, she enjoys her company with them as she dresses up like a man and go on a foot race. For a while, everything seems to be fine and everyone is having fun.

Then World War I begins as Jules and Catherine flee to Austria to be married as Jules has to go home to serve his country while Jim stays his France to fight for his country. For years, the war ravaged on as both men are afraid to kill each other. When it ends and both men surviving, Jim decides to visit Jules at his home in the Austrian mountains. Arriving at the station, Jim meets Catherine and her daughter Sabine (Sabine Haudepin) as they revisit old times and such. Yet, Jim begins to notice that the marriage between Jules and Catherine is disintegrating with Catherine now engaging in numerous affairs with men. Catherine confesses to Jim about her affairs including one with their old friend Albert, who was wounded in the war. An attempt to seduce Jim almost happens as Catherine tries to figure out her happiness. After a visit from Albert that reawaken old times, Jim finally professes his feelings for Catherine.

Living in their home and with Jules' blessing, Jim and Catherine begin their affair as for a while, everything seems blissful following their wedding while Jim returns to France to finish a few things. During their marriage, things start to die down when the bliss the trio seem to share start to wane. Catherine's marriage to Jim is worse than her marriage to Jules where she and Jim separate for a few months where Jim returns to Paris to meet with Gilberte. Learning that Catherine is pregnant, he isn't sure if he believes her considering her mood swings and cold behavior. When he learns it's true, he plans to return to Austria only to learn that an accident had occurred and their relationship is officially over. With the years gone by, Jim runs into Jules who has returned to France with Catherine. Yet, Catherine's attempts to win Jim back proved to be challenging as an event would change the lives of Jules, Jim, and Catherine.

Love triangles often involved a woman in love with one man while the other man is in love with her. Yet, what makes this love triangle interesting is the fact that it's about two men, who are both in love with the same woman and are willing to share with her. The only problem is that she'll love this guy for a moment and then go for the other guy for another moment. Yet, it would cause problems for herself as one guy tries to accept it for what it is while another seems to have enough. Still, the two men remain devoted to their friendship and love for the woman while the woman is trying to keep this bizarre love triangle intact.

Co-screenwriter and director Francois Truffaut creates a film and story that is truly exhilarating in the exploration of this love triangle that spans throughout the years in the early 20th Century told through a narrator (Michel Subor). The narrative is unique for revealing the emotions and what happened during the time frames when dialogue isn't involved and such. The first act is about Jules and Jim being attracted to this free-spirited, exciting young woman who likes to make them happy and challenge their personalities as she chooses the shy Jules.

The second act that follows the events of World War I as Jim goes to Austria to spend time with Jules, Catherine, and their daughter Sabine. He also watches the marriage disintegrate as he comes to term with his feelings for Catherine. The third act begins with his return to Austria to marry Catherine and their own marriage disintegrating that leads to the lost spirit and excitement of the relationship between the trio with Catherine still trying to bring that unpredictability back.

Truffaut' direction is evocative with the use of stock footage to convey the sense of the times and the different locations of Paris in the first act, Austria in the second, and the French suburbs near Paris in the third. It's a worldly film that moves as the camera just captures the relationship in its sense of spirit and movement. The scenes themselves are truly memorable from the race on the bridge to the interaction between everyone at Jules' Austrian home. It's a mesmerizing film from start to finish as Truffaut captures the scenes with great compositions to present the scenes as they're being shown. The result is a truly fascinating, stylistic, and evocative direction from the late Francois Truffaut.

Cinematographer Raoul Coutard does superb work with the film's black-and-white film stock as well as the use of hand-held cameras to capture the drama of what's happening. Coutard's look in the black and white is brilliant and also, beautiful in the scenes he's shooting while using early examples of tracking shots for the film's memorable racing scene. Coutard’s work is truly amazing in every shot he creates with in large part to Truffaut's presentation. Editor Claudine Bouche` does a superb job with the film's editing in its emphasis on style. Using jump-cuts, freeze frames, dissolve transitions, and other styles, the film moves very leisurely yet energetic to capture the film's sense of style and spirit as Bouche`'swork is phenomenal. Art director & costume designer Fred Capel does a great job with the look of the period clothing as well as the set decoration for the different places and locations that occur.

The music of George Delerue is absolutely brilliant from its upbeat, melodic score for the film’s early scenes to more sweeping, dramatic score with his eerie string arrangements. Delerue's rich score is a highlight in the many of the film’s technical highlights as it plays well to the film's emotional spirit. One piece of music written and performed by Boris Bassiak entitled Le Troubillon is sung by Jeanne Moreau which is a great, folky song that has Moreau singing very beautifully.

The cast is truly unique with small but memorable performances from Marie Dubois as an anarchist named Therese who enjoys smoking like a train, Sabine Haudepin as Jules and Catherine's daughter Sabine, and Boris Bassiak as their longtime friend Albert. Vanna Urbino is also good in her role as Gilberte, Jim's lover in Paris who has been a constant companion of his as his frustrations towards Catherine leads him to Gilberte. Oskar Werner is great as the shy, resigned Jules who is soft-spoken and reserved as he marries Catherine first only to feel unhappy as he tries to observe everything quietly while letting Jim take a chance on Catherine. Werner's performance is very subtle and charismatic as a man who watches everything unfold.

Henri Serre is brilliant as the extroverted Jim who likes to flirt with women but once he meets Catherine, he admires her from afar as he waits for his chance to be with her. Serre's performance is great for its restraint and earnestness as he tries to be a great man for Catherine but also Jules' best friend as he is a man filled with internal conflict that encourages him to push people away that becomes his weakness. Finally, there's Jeanne Moreau in what is truly a fabulous, sprawling performance from the legendary actress. Moreau is full of spirit, energy, and charm in the film's first act as she goes from this charismatic young woman to a disenchanted wife searching for love in the second act. Moreau's complex, evolving performance is amazing to watch as she carries the film with a lot of charm, energy, and spirit as it's definitely one of her defining performances.

Jules et Jim is a fun, romantic, and certainly worldly film from Francois Truffaut featuring amazing performances from Jeanne Moreau, Henri Serre, and Oskar Werner. This film isn't just one of Truffaut's finest but also an essential film of what is representative in the French New Wave. While some might prefer the angst of Les Quatre Cents Coups, Jules et Jim is a great film for the romantic at heart who might enjoy bizarre love triangles. In the end, Jules et Jim is an exhilarating masterpiece from the late, great Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours

(The Auteurs #40: Francois Truffaut: (Pt. 1) - (Pt. 2))

© thevoid99 2011