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The Earrings of Madame de... (1953)
"Madame de..." (original title)

 -  Drama | Romance  -  19 July 1954 (USA)
7.9
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Ratings: 7.9/10 from 4,988 users  
Reviews: 37 user | 76 critic

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 »

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Cast

Complete credited cast:
...
Général André de...
...
Comtesse Louise de...
...
...
Monsieur Rémy
Jean Galland ...
Monsieur de Bernac
Mireille Perrey ...
La Nourrice
Paul Azaïs ...
Le premier cocher
Josselin
Hubert Noël ...
Henri de Maleville
Lia Di Leo ...
Lola
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Storyline

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 the earrings again and gives them to his mistress, Lola, leaving to go to Constantinople. Where an Italian diplomat, Baron Donati, buys them. Back to Paris, Donati meets Louise... So now Louise discovers love and becomes much less frivolous. Written by Yepok

Plot Summary | Plot Synopsis

Taglines:

It was her vanity that destroyed her.

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

19 July 1954 (USA)  »

Also Known As:

The Earrings of Madame de...  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

'Charles Boyer' often fought with 'Max Ophuls' about his character's motives. Ophuls one day during rehearsal broke down and said "Enough! His motives are he is written that way!" Boyer never asked him again and decided to play his character as being omnipotent in all his scenes. See more »

Goofs

When the general gives the earrings to Lola on the train, she is crying and has her little bag on her lap. In the next cut, the bag is on the table. See more »

Quotes

Général André de...: [Remy shows a pair of earrings] What's that?
Monsieur Rémy: I couldn't believe she'd sell them without your knowledge.
Général André de...: Sell them?
Monsieur Rémy: I thought that by buying them...
Général André de...: What are you saying, Monsieur Remy?
Monsieur Rémy: I thought I was doing both of you a favor.
Général André de...: I don't follow, Monsieur Remy. I sometimes do favors for others but I avoid letting others do them for me.
Monsieur Rémy: A good policy.
See more »


Soundtracks

Einmal im Leben ...(L'amour m'emporte)
music: Oscar Straus
lyrics: Robert Gilbert & Armin Robinson
See more »

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User Reviews

The fluidity of the camera movement.
13 November 2006 | by See all my reviews

The most striking element of this film is the way in which the camera maintains such a fluid and sensitive movement, creating a sense of frustrated distance between the action within the film and those viewing it. The opening sequence introduces us to this technique, as we follow the search of the Countess through her dressing table, and gradually are shown the reflection of her face in the mirror. Throughout the film there are numerous long, fluid shots, often following a character physically through a series of situations and sets. The camera acts as a totally impartial observer, moving amongst the set and often being placed so as to appear to hinder a clear view of the action. However, the complicated and intricate relationship between the position of the camera and that of the character it follows is a vital stylistic element. We are distanced from the action, and yet also have an intimate relationship with it; the fact that the camera often has to retrace its steps in order to follow the character presents a spontaneous, realistic image.

More importantly perhaps is the continuity that this camera technique gives the film. The film charts the flow of a series of events that are all caused ultimately by one single event. Visually, the flow of images is indicative of the inevitability of the series of events, and aurally the fact that much of the music that we hear in the film is in fact from within the action, such as the dance and the theater, suggest again continuity and unity, as well as immediacy.


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