Madame de...

I keep wondering where these amazing treasures, such as "The Earrings of Madame De..." have been all my life. This 1953 Max Ophuls film is magnificent in every respect - direction, acting, script, photography, with just the right touch of humor for what is, in essence, a tragic love story.

It is 19th Century France. Danielle Darrieux is "Comtesse Louise De..." who in the beginning of the film sells a pair of heart-shaped earrings given to her by her husband, General Andre De... (Charles Boyer), as she has some expenses that she must meet. She trusts the jeweler's confidentiality. During a production of "Orfeo e Euridice," she announces to Andre that she's left her earrings somewhere. However, the jeweler tells Andre about the sale; Andre buys back the earrings and gives them to his girlfriend, whom he's dumping. When she needs gambling money, she sells them, and they are purchased by Baron Donati (Vittorio di Sica) as a gift for his new girlfriend - the Comtesse Louise! The earrings are a symbol of fate, the volatility of love, and the meaning of possession. The General is a possessive man, but he wants to have his cake and eat it, too, presenting these beautiful earrings to two women. The Comtesse doesn't want the earrings when they're from her husband; when they're from her lover, she's desperate to find a way that she can wear them and resorts to manipulation in order to do so. For Donati, they're a symbol of romantic love, but when he realizes that his beloved is flesh and blood and not totally truthful, he becomes disillusioned.

All of this is done with looks, a word, a suggestion, a dance, the placement of furniture (the General and Comtesse sleep in the same room, miles apart) - nothing too overt. The delicacy and subtlety of the film is magical.

The beautiful Danielle Darrieux, now 92 and with a film coming out next year, does a beautiful job as the flirtatious Louise, who becomes more involved than she planned - she goes from flirty to passionate and finally to desperate. DeSica is a handsome and charming suitor; and Boyer has just the right amount of edge on his performance. He's not the monster of "Gaslight," but an authoritative Frenchman who doesn't want a scandal and becomes annoyed when he sees that his wife's romance has gone a little too far.

With its fluid photography, pace, and romance, "The Earrings of Madame de..." is a true gem. No other way to describe it.

It's a movie I discovered 10 years ago, and I instantly fell in love with it. The romantic aspect of the movie was really jaw-breaking, and I couldn't keep admiring the incredible acting by the Danielle Darrieux/Charles Boyer/Vittorio de Sica trio. I was blown away by the powerful but slow and yet fast love between Danielle Darrieux's character and Vittorio de Sica's, by their beautiful intimacy and passion during the ballroom scenes, by the extremely romantic yet elegant love scene, and also the incredible twist the plot took just because of a pair of earrings!!! A must see!! It's such a shame though that the movie is underrated though it's a classic!! It deserves its place in French movie industry along Marcel Carné's, Jean Renoir's and François Truffaut's classics!!

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

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")

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.