La signora di tutti, August 5
Following a pair of earrings, Ophuls's fluid camerawork tracks the course of love and the character of a class. "Perfection."-Pauline Kael. With Danielle Darrieux, Charles Boyer, and Vittorio De Sica.
This rarely seen comic fantasy is a lovely roundelay of mothers and daughters, lovers and ghosts, past and presentiment.
Italian star Isa Miranda as a reluctant femme fatale "rises to the heights of tragic self-realization so typical of the greatest Ophulsian heroines."-Andrew Sarris
Ophuls's first American film stars Douglas Fairbanks Jr. as a swashbuckling Charles II in "a poetic and pictorially lovely costume picture."-Village Voice
Ophuls's early musical comedy about the price of love is a Rhineland Romeo and Juliet.
In Ophuls's audacious final film, a life of passion becomes the stuff of carnival. "The ultimate cinephilic object: a color-and-CinemaScope dream."-Boston Phoenix. With Martine Carol, Peter Ustinov.
Ophuls's one Dutch film is a comic parable on the perils of capital.
In this neglected masterwork, a historic love affair becomes "a fascinating study of repression and isolation . . . love as a shifting series of masquerades."-Paul Willemen
Barbara Bel Geddes marries Robert Ryan for his money but discovers that the dream house is a prison. A darkly ironic Cinderella story, also starring James Mason.
Housewife Joan Bennett must cope with a killing, blackmail, and the everyday pressures of domesticity in this stunning suburban noir. "An underrated gem."-Phillip Lopate
From Ophuls's early German period, an adaptation of a Schnitzler play about love that outlives life under an oppressive military authority.
In adapting three de Maupassant stories, Ophuls sardonically explores the distinctions between pleasure and happiness. "Illustrates not merely Ophuls's unparalleled sense of flow and texture, but also his proto-feminism."-Slant
Joan Fontaine pines for concert pianist Louis Jourdan, to whom she means nothing. "Of all the cinema's fables of doomed love, none is more piercing than this."-Time Out
In a "witty version of Arthur Schnitzler's play showing love as a bitterly comic merry-go-round . . . Ophuls displays dazzling technical virtuosity and cinematic elegance."-Chicago Reader