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It was a ecstatic day when I first heard Criterion was finally releasing Max Ophüls’ two sizable films, La Ronde and Earrings of Madame De. Ophüls is known for his radiant tracking shots and clarify camera movements (which influenced Stanley Kubrick) . He is also known for his black-and-white French bedroom farce, La Ronde (1950), starring Anton Walbrook, Simone Signoret, and Gérard Philipe, based on Arthur Schnitzler’s controversial 1897 play, Reigen. (Adolf Hitler considered Schnitzler’s play shameful for its depiction of the sexual morals and class ideology of its day. Schnitzler, a doctor, recognized that syphilis was not itsy-bitsy to distinct layers of Viennese society.) La Ronde (”The Roundabout”) follows a series of stories about savor affairs that destroy with one of the partners forming a fresh sexual liaison with another person. A soldier (Serge Reggiani) first meets a prostitute (Simone Signoret) and then has an affair with a young parlor maid, who then has sex with the young man of the house, who in turn has sex with a young wife, who then has sex with her husband, and so on until the film completes its circle with a Count (Gérard Philipe) having sex with the same prostitute. La Ronde is technically intelligent, the cinematography sparkles, and this is truly vast cinema. Roger Ebert calls Ophüls’ films “one of the expansive pleasures of the cinema.”

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The Criterion edition features a newly restored high-definition digital transfer; audio commentary featuring film scholar Susan White, author of The Cinema of Max Ophuls; an interview with Academy Award-winning filmmaker Marcel Ophuls, discussing his father’s work; an interview with actor Daniel Gélin (Napoléon, Testament of Orpheus) ; an interview with film scholar Alan Williams; selected correspondence between Sir Laurence Olivier and Heinrich Schnitzler (the playwright’s son), illustrating the controversy surrounding the source play; unusual subtitle translation; and a unusual essay by film critic Terrence Rafferty.

G. Merritt

“La Ronde” succeeds on many levels. The screenplay, adapted from the play by Arthur Schnitzler, is witty and engaging. It has a lightness of touch and magnificent irony that is queer to the French. The performances are excellent-especially Danielle Darrieux’s portrayal of an adulterous wife. However, the proper distinction of this movie is it’s visual style. The dark and white cinematography is anything but flat. There are layers and textures in this film that are a feast for the eyes. The sumptuous dwelling decorations are beautifully ornate-almost baroque. “La Ronde” is replete with camera angles reminiscent of “Citizen Kane.” There is a unbelievable overhead shot of a young courtesan whose head is in the center of hanging light fixture-or chandelier. This aspect is that of a poet who is idealizing her. It is an absolutely gleaming moment. Ophuls has a incredible sense of movement. The long tracking shots and circular motion complement, instead of detract from, the action and emotion of the anecdote. Particularly heavenly are the carousel scenes where circles race counter to one another. One might say that the omnipresent narrator is rather intrusive, but he grows on you. He’s French, after all……
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