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The Earrings of Madame De... (1953)

Madame de... (original title)
Not Rated | | Drama, Romance | 19 July 1954 (USA)
The diamond earrings of a French aristocrat, a wedding gift from her husband, cause a series of conflicts as they change hands repeatedly.

Director:

Max Ophüls

Writers:

Louise de Vilmorin (novel), Marcel Achard (screenplay) | 3 more credits »
Reviews
Nominated for 1 Oscar. See more awards »

Photos

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Cast

Complete credited cast:
Charles Boyer ... Général André de...
Danielle Darrieux ... Comtesse Louise de...
Vittorio De Sica ... Baron Fabrizio Donati
Jean Debucourt ... Monsieur Rémy
Jean Galland ... Monsieur de Bernac
Mireille Perrey ... La Nourrice
Paul Azaïs ... Le premier cocher
Josselin Josselin
Hubert Noël 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:

The most intriguing love story of the year! See more »

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Italy

Language:

French | Turkish

Release Date:

19 July 1954 (USA) See more »

Also Known As:

The Earrings of Madame De... See more »

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Box Office

Opening Weekend USA:

$15,409, 18 March 2007

Gross USA:

$130,561

Cumulative Worldwide Gross:

$135,636
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Director Max Ophüls only signed on to direct this film once his project to adapt Honoré de Balzac's novel, "La Duchesse de Langeais" fell through. This defunct project was intended to be a comeback vehicle for Greta Garbo. Ophüls felt that Garbo, like himself, was particularly adept at portraying the humanity and emotions of a doomed romance. Incidentally, Garbo's costume tests for the ill-fated project would prove to be her very last professional work. Once the project fell through, however, Ophüls turned his attention to making this film. 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

Comtesse Louise de...: First, you must promise to tell no one.
Monsieur Rémy: It's you ladies who bring us our gentlemen clients. Discretion is part of our profession.
Comtesse Louise de...: I assumed as much.
See more »

Connections

Featured in Histoire(s) du cinéma: Les signes parmi nous (1999) 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 bell-jarSee 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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