I gioielli di Madame De...
Rendező:
Max OphülsOperatőr:
Christian MatrasSzereplők:
Charles Boyer, Danielle Darrieux, Vittorio De Sica, Jean Debucourt, Jean Galland, Paul Azaïs, Mireille Perrey, Madeleine Barbulée, Colette Régis (több)Tartalmak(1)
A szép Madame de..., Louise grófnő, egy köztiszteletben álló tábornok felesége pénzzavarba kerül és titokban eladja értékes fülbevalóját. Férjének azt mondja, hogy az ékszert elveszítette. A férj azonban megtudja az igazságot, visszavásárolja a fülbevalót és a szeretőjének ajándékozza. Aztán egy véletlen folytán az ékszer Donati báróhoz kerül, aki halálosan beleszeret Louise grófnőbe és meglepi az asszonyt a gyönyörű fülbevalóval. Louise azt mondja férjének, hogy az elveszettnek hitt ékszert megtalálta, de a férj megtudja az igazságot és féltékenységében párbajra hívja ki a bárót. (Örökmozgó)
(több)Recenziók (2)
Grand, overwhelming, bombastic in its melodramatic nature beyond the rather high emotional ceiling of the genre. The dubious fatefulness is not hidden behind the characters’ actions, but rises to the surface, and its involvement in the game is conspicuously pointed out to us several times (the bet on thirteen, the interpretation of the cards). The men here are active and observant; the women are passive, observed, constantly swooning, dealing with emotions and taking care of their outward appearance. They so conscientiously take care of their appearance that it seems natural when Louise treats her diamond earrings more tenderly than she treats the men who come into her life and who are consequently just unreliable, less glittering derivatives of those earrings. Music plays almost continuously, stirring emotions and inspiring the characters to dance. The dancers (of whom the grand prize for endurance goes to Christian Matras behind the camera) exhibit the same tirelessness, to the point that in one scene there is nothing left for an annoyed musician to do but to demonstratively pack up his things and leave. He is overwhelmed by the melodramatic determination of the film, which is only just getting into the final third, which is perhaps less active in terms of movement, but is unabashedly self-reflexive in its sense of irony. Ophüls’s peak work and the most action-oriented of the films in which the only real “surface” action takes place off-screen. 85%
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It's a powerful film that tells the story of how one social class functions. Or rather, how it doesn't function. Some scenes are excellent and beautifully shot, but it just couldn't make me fully engage and pay attention to every shot. It's not a bad film, it's just that the topic didn't grab me.
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