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IMDbPro

I gioielli di Madame de ...

Titolo originale: Madame de...
  • 1953
  • T
  • 1h 45min
VALUTAZIONE IMDb
7,9/10
11.720
LA TUA VALUTAZIONE
Charles Boyer, Vittorio De Sica, and Danielle Darrieux in I gioielli di Madame de ... (1953)
Period DramaDramaRomance

Aggiungi una trama nella tua linguaWhen an aristocratic woman known only as "Madame de . . ." sells a pair of earrings given to her by her husband in order to pay some debts, she sets off a chain reaction of financial and car... Leggi tuttoWhen an aristocratic woman known only as "Madame de . . ." sells a pair of earrings given to her by her husband in order to pay some debts, she sets off a chain reaction of financial and carnal consequences that can end only in despair.When an aristocratic woman known only as "Madame de . . ." sells a pair of earrings given to her by her husband in order to pay some debts, she sets off a chain reaction of financial and carnal consequences that can end only in despair.

  • Regia
    • Max Ophüls
  • Sceneggiatura
    • Louise de Vilmorin
    • Marcel Achard
    • Max Ophüls
  • Star
    • Charles Boyer
    • Danielle Darrieux
    • Vittorio De Sica
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,9/10
    11.720
    LA TUA VALUTAZIONE
    • Regia
      • Max Ophüls
    • Sceneggiatura
      • Louise de Vilmorin
      • Marcel Achard
      • Max Ophüls
    • Star
      • Charles Boyer
      • Danielle Darrieux
      • Vittorio De Sica
    • 69Recensioni degli utenti
    • 78Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 1 Oscar
      • 1 candidatura in totale

    Foto82

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    Interpreti principali35

    Modifica
    Charles Boyer
    Charles Boyer
    • Général André de...
    Danielle Darrieux
    Danielle Darrieux
    • Comtesse Louise de...
    Vittorio De Sica
    Vittorio De Sica
    • Baron Fabrizio Donati
    Jean Debucourt
    Jean Debucourt
    • Monsieur Rémy
    Jean Galland
    Jean Galland
    • Monsieur de Bernac
    Mireille Perrey
    Mireille Perrey
    • La nourrice
    Paul Azaïs
    Paul Azaïs
    • Le premier cocher du baron
    Josselin
    Hubert Noël
    Hubert Noël
    • Henri de Maleville
    Lia Di Leo
    Lia Di Leo
    • Lola
    Madeleine Barbulée
    • Une amie de Madame de...
    • (non citato nei titoli originali)
    Charles Bayard
    • Un convive
    • (non citato nei titoli originali)
    Jacques Beauvais
    • Un majordome
    • (non citato nei titoli originali)
    Gérard Buhr
    Gérard Buhr
    • Le douanier
    • (non citato nei titoli originali)
    Jean Degrave
    • Le clubman
    • (non citato nei titoli originali)
    Claire Duhamel
    • La demoiselle de compagnie
    • (non citato nei titoli originali)
    Guy Favières
    Guy Favières
    • Julien
    • (non citato nei titoli originali)
    Émile Genevois
    • Un soldat
    • (non citato nei titoli originali)
    • Regia
      • Max Ophüls
    • Sceneggiatura
      • Louise de Vilmorin
      • Marcel Achard
      • Max Ophüls
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti69

    7,911.7K
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    Recensioni in evidenza

    withnail-4

    Sublime, Graceful, Charming, Ruthless

    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"

    grace
    10Quinoa1984

    a rarity: a beautiful, romantic film about the lack of romance in people's lives, of possessiveness, and the collapse of humility

    Call me a pessimist, but the ending of Madame De doesn't spell too much in the way of happiness for any of the characters, even if what one might think as the worst possible scenario didn't happen. Max Ophuls, with his brilliant film The Earrings of Madame De, doesn't allow the usual catharsis that one might expect from a romantic drama of this sort, where infidelity is merely implied and the veneer of early 20th century bourgeois is a cover for a feelings that rarely get in view. Instead, as with the rest of the film, we're given something of a wonderful contradiction, where something is compelling and graceful, but in a sort of dark way too. The doomed love of the film is one where the simple act of admitting love is a tough thing to do, and at the same time this doom is contrasted by a very swift, effortlessly moving camera, which goes around its characters trying to get us completely immersed in this world while feeling at the same time something isn't quite right. Why shouldn't Louise get what she really would want? Well, then the movie would be over pretty quickly.

    Instead Ophuls makes Madame De (Danielle Darrieux) a character who goes through a radical transformation: she starts off being careless with how she possesses things, her objects, as she goes randomly in a 'whatever' mode at the start through her possessions, getting ready to go out in the town. She sells off her precious earrings, given as a wedding present, just because, not for any really serious reason. This leads to an amusing trail of sort of a mini-movie, where we see the trail of the earrings: she puts up her cover-story that she lost the earrings while at a show, and despite all ill-fated efforts they can't be found. But, the original seller notifies the Général André de (Charles Boyer, the perfect presence for this role), and he decides to not tell his wife he found them, and instead passes them off to his mistress, who is leaving him to Constantinople. Cut to after she loses them in a gambling frenzy, and it winds up at a pawn shop, and soon after in Baron Donati's hands (Vittorio De Sica, handsome as ever, and with some depth to his soul too). Donati, of course, soon ends up in the life of Madame De at first as a simple diplomat, and then dancing with her every night, and then finally the two barely can stand being away from one another. And what about the earrings?

    The love-triangle, of what is there and what isn't for the three of them, is made all the more exceptional here due to two major things really: the performances being as precise to a certain style that Ophuls is after, where there is a total understanding to what is going on but a serious attitude to what the characters are going through, and Ophuls as the director. For the latter, let it be said that this is arguably one of the best directed films not only of the 50s but to come out of France in general. Ophuls puts so many small touches in his pacing and timing of scenes, of how he lets little amusements enter his cheerful atmosphere, especially in the first half. Like the boy who has to keep going back up the stairs to fetch things for his jewel-dealer father, or when the General is looking around for the earrings and the soldiers have to keep getting up, or, of course, the dancing scenes between Donati and Louise, where the tracking shots and the dissolves merge together, and the storytelling becomes completely enriched by this combination of methods.

    And Ophuls, to be sure, knows how to make this 19th century upper-class European sentiment genuine through details like how far apart the General and his wife sleep at their beds (not even in the same room), and what is never said outright or expressed makes what is felt all the more powerful. Louise, as seen through the talented Darrieux, is one who suddenly finds from what was previously a fairly basic and comfortable existence in the General's quarters- very rich quarters- to be very constricting and cold when compared to what Donati has to offer. I also liked a lot how Boyer doesn't make General Andre a completely unsympathetic villain either- he's a guy who, sort of like Louise, doesn't know how to cope with possessiveness, and sees his protective shield he's put around Louise from the world as something good for her. And the earrings, which come back to her from Donati, represent all that is possible in loving or not loving someone, with just a reminder being enough. Likewise, there's the aspect of Donati lacking the possessive qualities of his counterparts, but puts him at a disadvantage to be anything more than an incredibly charming facade, in a sense, of what could be.

    So there was a lot I left pondering after the Earrings of Madame de, but it was mostly all in the context of this not really being very paunchy or pretentious, but a very exquisite presentation of the tragedy of real love for the privileged in this world. It's very entertaining as well, and I was surprised to see how many times I or someone in the theater had a chuckle (i.e. the running-gag of the jewelry-dealer popping up) when watching the film. And on top of Ophuls incredible visual prowess, the musical score is unforgettable, as I was whistling all those wonderful melodies and suites long after the film ended. Though the Earrings of Madame De is a little hard to find, unless if re-released or through obscure video channels, it's well worth it to see how far a filmmaker can go to revealing the crushing, vulnerable layers underneath the superficial surfaces. Plus, it's a great way to get introduced to Ophuls's unique style.
    8claudio_carvalho

    Earrings, Little Lies and Great Tragedy

    In the end of the Nineteenth Century, in Paris, the futile Countess Louise (Danielle Darrieux) is spending too much money and decides to sell the valuable earrings her wealthy husband, General André (Charles Boyer), gave to her in their wedding to the jeweler Mr. Rémy (Jean Debucourt) to pay her debts. Then she lies to her husband telling that she has lost them in the theater. When the general resolves to call the police, Mr. Rémy visits his client and discloses the truth about the earrings. General André secretly buys the earrings again and gives to his mistress Lola (Lia Di Leo) that is moving to Constantinople. Lola gambles and loses, and needs to sell the earrings. The Italian diplomat Baron Fabrizio Donati (Vittorio De Sica) sees the earrings in a window of a pawn shop, he buys them. Donati travels to Paris and meets Louise, and they become lovers. He gives the earrings to Louise and she tells another lie to her husband, telling that she found them in her drawer. Her little lies lead the lovers to a tragedy.

    "The Earrings of Madame de..." is a beautiful and stylish romance directed by Max Ophüls where a pair of earrings is the pivot for romantic but also tragic situations. The production is impressive, with wonderful locations and set decoration, elegant costumes and magnificent black and white cinematography. The story of a passionate woman that uses to lie and finds her true love is tense, with great performances. I saw this movie for the first time on 24 June 2001 and I have just seen it again. My vote is eight.

    Title (Brazil): "Desejos Proibidos" ("Forbidden Desires")
    8FelixtheCat

    An exquisite film from abroad...

    Max Ophuls directs this tale of romance and jealousy set near turn-of-the century France. Danielle Darrieux plays the unsatisfied wife of an adulterous French General, Charles Boyer. In order to pay off other frivolous expenses she has incurred, she sells off the earrings that her husband had presented to her on the day after their wedding, and then claims that she lost them. She meets a princely Baron, Vittorio de Sica, and romance slowly blooms. Meanwhile, the earrings she has sold keep turning up in her life only to haunt her. The three leads are wonderful, as is the atmosphere in this luxuriously elegant French film. The change in Darrieux's feelings for the earrings keeps the film fascinating throughout. The emotions of all the characters are presented in a romantic, yet somehow realistic nature.
    9harry-76

    Memorable Classic

    Max Ophuls' masterwork, "Madame de . . ." retains its haunting beauty, with memorable performances, photography, and direction. The tracking shots are remarkable, as is the quality of the overall production. Charles Boyer heads a distinguished cast that works like a finely tuned string trio. A genuine film classic.

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    Trama

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    Lo sapevi?

    Modifica
    • Quiz
      Charles Boyer often fought with Max Ophüls about his character's motives. Ophüls 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.
    • Blooper
      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.
    • Citazioni

      Général André de...: Unhappiness is our own invention. At times I'm sad that I lack the imagination for it.

    • Curiosità sui crediti
      Prologue:  " Madame de...was a very elegant, distinguished and celebrated woman, seemingly destined to a delightful, uncomplicated existence.   Probably nothing would have happened had it not been for those jewels..."
    • Connessioni
      Edited into Histoire(s) du cinéma: Une histoire seule (1989)
    • Colonne sonore
      L'Amour m'emporte
      Music by Oscar Straus

      Lyrics by Louis Ducreux

      Performed by Danielle Darrieux

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    Dettagli

    Modifica
    • Data di uscita
      • 12 novembre 1953 (Italia)
    • Paesi di origine
      • Francia
      • Italia
    • Sito ufficiale
      • Official site
    • Lingue
      • Francese
      • Turco
    • Celebre anche come
      • The Earrings of Madame De...
    • Luoghi delle riprese
      • Saint-Étienne-du-Mont, Place Sainte-Geneviève, Paris 5, Parigi, Francia(Mme de at the church)
    • Aziende produttrici
      • Franco London Films
      • Indusfilms
      • Rizzoli Film
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 130.561 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 15.409 USD
      • 18 mar 2007
    • Lordo in tutto il mondo
      • 135.636 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 45 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.33 : 1

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