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[OUT] ROUND

With the out-of-ROUND in a restored print, we are replongés in this monument of French cinema, a work that is breathtaking when the heart light batifole with the torments of a desire to repeat. In the whirlwind of the passions of libertines, Ophüls evokes an elegance and a virtuosity no doubt the tourbillon lover. As in Ophuls ‘ all the world’s kids with the Love…

This is the time for love

The time buddies

And adventure

It is often useful to think of a theme as wide and uncertain as Love, considering the time in which it is embedded. Because, fundamentally, nothing has changed ; the Man remains to this heart, fickle, cabriolant around these great truths, which escape us and we shape it. A Love stealing away the destructive power of time, to perpetuate themselves in the nostalgia of a timeless melody : the back-and-forth between the lovers one day, and the intoxication of the body. The times does not become that of the facades, encapsulating the impulses of love under the appearances of evolutionary morality. A familiar air, which does not cease to continue, to never leave us. As if this round of links is transposed in time deliverer of love. A time when the desires are swirling in the turmoil of a sex drive to satisfy.

When the time comes and goes

We don’t think about anything

Despite his injuries

And the sweet melody of the heart, THE ROUND becomes all the more troublement seductive. These “skits” are bound by the same movement, Max Ophüls puts his characters on the same time line, the better to root out the frantic dynamic of the pleasure while mélancolisant every aspect of this race is secretly desperate. Continuity as paradoxical as it is revealing of what Love is, this disease is short and that short, and strikes down in the street this stranger passing by.

An affection passed of characters in characters, such as for clocking in a waltz, the evils of desire: farewell to decorum, hello impropriety. Because of these not-to-torque closed, the waltz is liberating of promiscuités libidineuses : “It was his virginity, the less the waltz ” saying, moreover, not without irony, the chevalier de Segur. In the imperial Vienna of the early Twentieth century, everything must go through the concealment : the adultery to the macadam, of the libertine to the affections carnal, everything is leaking, everything intermingles and hides.

Because the time of love

It is long and it is short

It lasts forever

It will be remembered

Something which is almost disillusioned about love in the end. This ideal falsely attainable that Men compensate by a succession of acoquinements without next day. The fury in the blood, the heat in the body, the passion without love. A movement that is ceaselessly renewed by the previous ; a pattern which, loop loop, doomed to repeat. Because the vertigo of the heart is a symptom standing, nourished by the journey unexpected that can take our lives, a bit like these earrings as a leitmotiv in love, hand in hand, the lucid lie to the tragic truth, in Madame de….

Trade in love in the swinging of the body, the passion as the driving force of the beings and of their place in the armoury of the existence. Only and simply the story of lovers who come together and leave. The human in everything that he has more dumb and passionate : a tragedy without a border or difference ; just Men and Women, free and equal in their commitment and chained in the ordinary behavior. Ophüls does not overwhelm them at any time, but on them the tenderness of a father over his children, a creator on his experiences. A kindness that can not be assessed only through this your so poetic, this melting-pot of social enjoyment in the moment, and this beating heart of a pleasure as fleeting and strong as are the feelings.

A sensitivity supplemented by the monsters of the screen, the jewels of feelings : from Simone Signoret to Serge Reggiani, Gérard Philippe to Simone Simon, the perfection of the casting is only matched by the beauty falsely shallow of her actress lighthouse, Danielle Darrieux devouring every piece of film where his angel face appears. It’s all a matter of charm at the bottom. Has this game of love, so it would take almost a clip to catalyze any gymnastics passionate. In the case of Ophuls, always surrounded by the best technicians, the fluidity of the narrative is not something to take lightly. And yet, this entire dynamic, extremely mobile wants to be the footprint of a lightness to the elegant simplicity. A form that is incredibly neat helping to improve the bottom.

“See all the facets of reality to pierce the illusion.”

The prologue, a virtuosity that is certain, is more able to account for the illusion worked as a director. Where the narrator wonders about his place within the narrative, the latter (played by a wonderful Anton Walbrook as the leader of game) seems to walk us, manipulate us, to better lose ourselves in the scenery of a place that does not exist, or rather, who creates according to his conveniences. A character creator of his own illusion, in sum. His presence in each scene strengthens his character almost divine, supernatural ; a kind of guardian angel or God (Cupid ?), a technician ensuring the proper operation of the carousel engage in sexual activity.

The scene cut in the film is particularly amusing : as an affront ofOphuls to the censorship, the narrator is judge of the morals, the morals of yesteryear, and cut the explicit in order to better disclose the implied. A central character, therefore, who has the privilege to spin his characters in a loop of meetings. And thus, see all the facets of reality to pierce the illusion. It is the very consciousness of the characters, who create a thought to copulate. And by breaking the fourth wall, the viewer is made complicit in this transgression narrative. Because love is not something that should stay behind a screen…

On a piece ofArthur Schnitzler, whose character supposedly pornographic has managed to mark its time, Max Ophüls submits his characters to the sweet torment of debauchery. As worn by this feeling of not belonging to any time, THE ROUND is turning our hearts into an enchanting Viennese voice and passions, and more if affinities. Experimenting with a rare elegance and a subtle humour tormented lovers up to the choking, Ophüls hollow loneliness in the waltz of desire ; a desire to show the imbalance of these seductions doomed to forgetfulness, dizziness stendhalien where the artifice film illuminerait our eternal quest for love. A requiem for all those fools, all these languidly lying on, all these () illusionnés, all these loving, all of these well-loved… Because we all have something in us of the exalted. Don’t you need somebody to Love ?

Fabian Jestin

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[OUT] THE ROUND
Original title : La Ronde

Achievement : Max Ophüls

Scenario : based on the play La Ronde by Arthur Schnitzler

Adaptation : Jacques Natanson, Max Ophüls

Main actors : Anton Walbrook, Gérard Philipe, Simone Signoret, Simone Simon, Danielle Darrieux, Serge Reggiani, Daniel Gélin, Fernand Gravey, Jean-Louis Barrault

Release Date : 27 September 1950

Date exited : December 6, 2017

Duration :1h50min

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