Max Ophuls - Madame de... (The Earrings of Madame de...) - 1953

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Max Ophuls - Madame de... (The Earrings of Madame de...) - 1953

''Madame de...'', directed in 1953 by Max Ophuls, is one of the most mannered and contrived love movies ever filmed. It glitters and dazzles, and beneath the artifice it creates a heart, and breaks it. The film is famous for its elaborate camera movements, its graceful style, its sets, its costumes and of course its jewelry. It stars Danielle Darrieux, Charles Boyer and Vittorio De Sica, who effortlessly embody elegance. It could have been a mannered trifle. We sit in admiration of Ophuls' visual display, so fluid and intricate. Then to our surprise we find ourselves caring. – Roger Ebert





There would probably be a film by Max Ophuls in my best 10 movies of all time, let alone my best 100. It is not La Ronde, his most successful film, nor Lola Montes, the magnificent last work of a career that spanned 25 years and took in Germany, Italy and France as well as Hollywood. My favourite is the film preceding La Ronde, 1953's "Madame de...". The film is one of four he made towards the end of his life in France, which also included the less satisfactory but still impressive melodramas Caught and The Reckless Moment. It encapsulates both his dazzling technique and the way it serves what looks like slight material. The story, taken from a novella by Louise de Vilmorin but translated by Ophuls into something more like Pirandello or Anna Karenina, revolves around a pair of earrings. They are given to Madame De (Danielle Darrieux) by her husband (Charles Boyer). But she sells them to pay her debts, only for her husband to buy them back and give them to his mistress. – Derek Malcolm, guardian.co.uk




You could say, of course, that "Madame de..." is a woman's picture, like the equally fine Letter From An Unknown Woman. Many of Ophuls's movies were centred on women, but that doesn't mean they were sentimental, or had a penchant for mythologising womanhood. They did, however, show the difficulties women have in a male-dominated society. What once prevented critics treating Ophuls seriously was the splendour of his film-making. Somehow that meant he was not wholly to be trusted, as if irony and a lightness of touch simply meant stylish flippancy. Now, however, we see him as he is - a film-maker whose admirers included such diverse artists as Truffaut, Genet, Rossellini and Preston Sturges. – Derek Malcolm, guardian.co.uk
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