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 »
This tale centers around the love between Baptiste, a theater mime, and Claire Reine, an actress and otherwise woman-about-town who calls herself Garance. Garance, in turn, is loved by ... See full summary »
In the Paris of the late 19th century, Louise, wife of a general, sells the earrings her husband gave her as a wedding gift: she needs money to cover her debts. The general secretly buys ... See full summary »
Vittorio De Sica
When Juliette marries Jean, she comes to live with him as he captains a river barge. Besides the two of them, are a cabin boy and the strange old second mate Pere Jules. Soon bored by life ... See full summary »
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 a maid and does similarly with the young man of the house. The young man seduces a married woman. On and on, spinning on the gay carousel of life. Written by
Ed Sutton <firstname.lastname@example.org>
Superficial, slight in significance, but a charmer
I first saw La Ronde in 1950, at an art theatre, when I was completely caught up in the concept and progression of scenes, but only a novice at critical analysis. Consequently, it was one of the first (Beta) videotapes in my collection.I viewed it again last night, for only the second time. I can understand the reactions of those, especially contemporary viewers who expect romantic scenes to be more explicit. (The French were doing that very well long before Hollywood, so the lack in this film does not result from reticence.) Yet after 53 years the film has lost little of its charm for me: (I notice that older viewers tended to rate La Ronde higher than those who are younger.) The linking device came from Schnitzler, not from the film scripter, so could hardly have been avoided, and the segments varied in quality. It seems that the actors did not take the film or themselves too seriously, which was quite appropriate. I recall that the only full-screen close-up came at the end, with Signoret as the prostitute. Was that a final comment on love itself: always exploitative and transitory; as seen in each scene, to a greater or lesser extent.
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