La ronda

Yes, this movie is based on overt sexual tendencies; there is no argument there. What is so amazing about this movie is the cinematography. Ophuls created so many sweeping shots, so well, using only a camera on a track. This is an amazing feat. Also this movie echoes a lot of Freud. Remember, Ophuls is German and certainly read Freud during his life.

One of Freud's greatest works involving psychoanalysis is parapraxes, or slips of the tongue. In La Ronde, parapraxes play a major role, for parapraxes also apply to misplacement of items (and people). For every love, there is another lover. Freud would say that no matter how much you love your partner, there is a better partner for you out there. A partner that the second you see, you will become instantly infatuated with. La Ronde does an excellent job of this.

"La Ronde" is the cinematic equivalent of a short story collection in which affairs of the heart are the central theme and one character from each story plays a part in the next. Almost by definition, movies like this feel less satisfying to me, because no one story is ever allowed to build to any kind of dramatic conclusion, but "La Ronde" is a pretty good example of the genre.

I don't know that the film (which was based on a stage play) has much to say about love beyond generic platitudes, but it boasts some lovely little performances, especially by Danielle Darrieux, who would go on to captivate me a few years later in another and far superior Max Ophuls film, "The Earrings of Madame de...", and Simone Signoret, who plays a weary prostitute. The true star of the picture, however, is the production design, which alone makes the film worth watching. It looks sumptuous, and the camera glides around the spaces as smoothly and gracefully as the carousel that serves as a recurring visual motif in the film.

"La Ronde" was deservedly nominated for a Best Art Direction Oscar in the black and white category, and Max Ophuls and writing partner Jacques Natanson were nominated for adapting its screenplay.

Grade: B+

La Ronde is undoubtedly a great film! I've only seen it once, years ago, but it made a big impression on me. I've always been very fond of old black & white classics, and this one has beautiful settings and light. The story may not be something entirely new, but is told with elegant wit, and the list of actors involved is a who's who of French cinema of the 40's/50's. The wonderful Simone Signoret is particularly good as the prostitute, and my own personal favourite is Gérard Philipe, though his role isn't terribly meaty and also seems a bit stilted. So, the verdict is: a great original by Max Ophüls! And it will seem even better if compared with Roger Vadim's lacklustre and obvious remake! I don't recall the title of Vadim's remake, but it was boring and totally without the charm and ease of the original. A waste of time! Do yourself a favour, ignore the remake and go watch the original...

This seems a little old fashioned even allowing for it's period setting. Perhaps it's the reluctance of the director to go beyond even the merest suggestion of congress that gives it an air of something made in the late thirties or forties. It certainly has charm though and Ophul's cameras twirl and glide like the carousel itself. Always looking sumptuous (perhaps it shouldn't) and always light-hearted (perhaps it should be more serious) it is a pleasant enough viewing. Oscar Strauss' music helps enormously and is in complete harmony with the visuals. Simon Signoret as the prostitute, seen at the start and finish is exemplary and Simone Simon shines most brightly as the seductive maid.

La Ronde is one of my favourite French films, I can't watch it too often as it has its faults but it hasn't failed to enchant me each time so far. Max Ophuls certainly had an elegant style about him, see Le Plaisir and Madame de .. for further evidence. He re-created Vienna 1903 seemingly effortlessly in this, and even with Anton Walbrook continually talking to the camera and a film set deliberately momentarily on display it's pretty convincing. The attention to period detail was knockout, done as only Ophuls knew how. It can still be done nowadays but lacking one vital ingredient: an atmosphere, a feel for the time and place that came with nitrate film stock. Modern films can look as sumptuous in their set and costume design even in todays colour, but nearly all fail to generate an atmosphere because modern film stock plays too realistic - and it ain't going to get any better with digital no-film-at-all!

The Austrian Anton Walbrook was a multi-linguist, his sinister sibilant English in Gaslight was perfect, in Colonel Blimp perfectly resigned as a defeated and baffled non-Nazi German soldier. He spoke a few gorgeous words in French in La Ronde and was then promptly dubbed for the rest of the movie. Maybe he couldn't sing, but why did they jettison such a lovely speaking voice as well?

The conventional hypocrisy of sexually cheating on your (straight?!) partner in secret is repeatedly portrayed, as well as the notion that casual sexual gratification is usually desired by both sexes of both classes and as fast as possible. These lovers of sex move on: familiarity breeds contempt - once you've come it's time to go! This sex (not love) merry-go-round is one reason why there are 6 billion people on Earth today! But I definitely don't agree with the previous comment that Ophuls' version of La Ronde was about the spread of STD even though the original play had it as a major theme. Ophuls was all about Pleasure, not Pain - any syphilitic transmission was left to the imagination here. Walbrook waxes wistfully cynical throughout this beautiful film - he wouldn't change a thing about Life and Sex if he could. I'm happily forced to watch this film with amused sadness from his point of view, and wouldn't change a thing about it even if I could.