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 »
Francisco is rich, rather strict on principles, and still a bachelor. After meeting Gloria by accident, he is suddenly intent on her becoming his wife and courts her until she agrees to ... See full summary »
Arturo de Córdova,
When Juliette marries Jean, she comes to live on his ship, on board of which are, besides the two of them, only a cabin boy and the strange old second mate Pere Jules. Soon bored by life on... See full summary »
Joan Webster is an ambitious and stubborn middle-class English woman determined to move forward since her childhood. She meets her father in a fancy restaurant to tell him that she will ... See full summary »
Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
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
Vittorio De Sica was a huge fan of 'Max Ophuls' and wanted Jean Gabin's role in Le Plaisir. Ophuls told him no, but that he would find him a dignifying role in another film. The Role of the Baron was written with him in mind for this film. See more »
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 »
Comtesse Louise de...:
[praying for her lover who is about to go on a duel with her husband]
Save him, dear saint. You know that we were guilty in thought only. And what are thoughts? Will you save him, my dear saint? I thank you in advance. Blessed be your name in heaven as on earth. Amen.
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It strains the imagination and saddens the heart to wonder at the existence of those people, long past, who would strive for such a sublime accomplishment.
"It's when we've the most to say that we're silent"
The dramatic situations develop so that we feel every word the characters leave unsaid. The situation speaks, and then the characters comment cleverly, explain themselves to their best advantage in that momentary sparkle that is "life"
The relationship of the director to his characters: they are allowed to be witty, to be beautiful, profound, and deeply human, yet in this humanity is their futility, a charming futility. As in the classics, The passions rule all humans. The characters are as puppets, not to the director, but to the passions.
The camera moves, yes, and you may have heard of Ophuls' flowing camera. It is not empty style, but dynamism, concision, and, more importantly, the flow of life that is his moving camera. It is the flowing movement of Ovid's Metamorphoses, the inexorable flow of life. The camera doesn't so much follow the actors, but that the flow of life is happening, and the characters are swimming in that stream of happening.
Why does he persistenly show the characters through a pain of glass? These are the boundaries of social propriety, the confines of their situation. Ophuls knew it best: life is a movie
Vladimir Nabokov wrote a short story entitled "La Veneziana"... Have I strayed from the subject? But, aren't all things sublime closely related?
I have learned, through persistent trial, that '98 is a fine year for Rhone. I suggest that you open a bottle, pour a glass, and push "Play" on "The Earrings Of Madame De..."
"unhappiness is an invented thing"
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