In the late 1800's, Franz Ferdinand, heir to the Austro-Hungarian empire, falls for Sophie Chotek, a Czech countess. He's already a problem to the Crown because of his political ideas; this... See full summary »
It was Leonora Eames' childhood dream come true. She had married Smith Ohlrig, a man worth millions. But her innocent dream became a nightmare once she realizes the truth about her husband ... See full summary »
Barbara Bel Geddes,
An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes ... See full summary »
Three stories about the pleasure. The first one is about a man hiding his age behind a mask to keep going to balls and fancying women - pleasure and youth. Then comes the long tale of Mme ... See full summary »
Maria Montez was accorded top billing in this film by contractual agreement, although she is in the picture only long enough to take a bath in a tricky 17th century bathtub while sipping coffee with Charles Stuart and delivering dialogue in a barely-understandable French-accent. This is the second major film released within a short period with King Charles II as a primary character, and Charles here and Charles (George Sanders) in "Forever Amber" are two very varied approaches to the same character. This one takes place prior to the beginning of "Forever Amber" when Charles II and his followers are hiding out in Holland from Oliver Cromwell's puritan Round Heads. Being temporarily at liberty (or unemployed), Charles takes a day job at the farm/estate of Katie, and falls in love with her. Meanwhile he eludes his enemies by agility, enterprise and sword play, some of the latter performed while riding the blades of a Dutch windmill. He is summoned back to the throne and has to leave ... Written by
Les Adams <firstname.lastname@example.org>
Because of contractual requirements, Maria Montez receives star billing even though her role only demands she be on screen for about ten minutes, 40 minutes into the film, after which she is never seen again. See more »
The costuming for this film must bring a smile to the face of anyone familiar with fashions of the 17th century. The film's action occurs in 1660, but Fairbanks and his colleagues wear jerkins fitted to the waist, stylish about 1620-1630, but apparently considered more dashing than the loose smocks and petticoat breeches of 1660. Then Maria Montez arrives, wearing a gown clearly from the 1880 Wild West costume rack in the Wardrobe Department. To atone, her second frock is only a century out of kilter, something from about 1750.
I found the sound-stage exteriors very claustrophobic and phony, and I noted only 3 instances when I felt the "Ophüls touch," for example when the shutter blew open and closed, alternately revealing and concealing the lovers as they approach their first kiss. I'm also puzzled why Max Ophüls is listed as "Opuls" in the credits, but perhaps that is a phonetic rendering to eliminate the umlaut?
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