#Max Ophüls

[freshmoviequotes]

Lola Montès (1955)

#lola montès #max ophüls #movies #film #quotes #1955

[lindadarnell]

LETTER FROM AN UNKNOWN WOMAN 1948 | Max Ophüls

#letter from an unknown woman #henricavyll #usermichi #uservita #usergina #userdeforest #ceremonial #classicfilmblr #max ophüls #~ #lfauw*

[1985directedbyyentan]

"I never did a decent thing in all my life. I never even wanted to until you came along."

The Reckless Moment (1949) dir. Max Ophüls

#the reckless moment #Max Ophüls #Joan Bennett #James Mason #GTPCU

[la-cocotte-de-paris]

Edwige Feuillère and George Rigaud in Sans Lendemain (1939), dir. Max Ophüls

#pls they're both so pretty and beautiful #losing my mind #this movie makes me cry tho so i don't often watch it #but it's so so good #sans lendemain 1939 #there's no tomorrow 1939 #max ophüls #edwige feuillère #george rigaud #film #vintage #aesthetic #vibe goals #couple #dreamy #me and who WHEN 😭 #love #romance #♡♡♡♡♡ #retro #cinema #classic film #french #film français #femme #homme #pretty

[mydarkmaterials]

#film #max ophüls #letter from an unknown woman #joan fontaine

[haverwood]

Letter from an Unknown Woman Max Ophüls USA, 1948 ★★★★ Right.. in the feels..

#Letter from an Unknown Woman #Max Ophüls #1948 #1940s #photoset #title card

[gatutor]

George Rigaud-Edwige Feuillère "Suprema decisión" (Sans lendemain) 1939, de Max Ophüls.

#Edwige Feuillère #George Rigaud #Max Ophüls

[erstwhile-punk-guerito]

#The Earrings of Madame de... #Charles Boyer #Danielle Darrieux #Vittorio De Sica #Max Ophüls #1953

[bluen3hey]

1953  Madame de…

The Earrings of Madame de…

#The Earrings of Madame de #Madame de #max ophüls #charles boyer #danielle darrieux #vittorio de sica

[marypickfords]

Letter from an Unknown Woman (Max Ophüls, 1948)

#letter from an unknown woman #max ophüls #caps

[bitter69uk]

The Bitter Tears of Isa Miranda. Born on this day: durable Italian screen diva Isa Miranda (née Ines Isabella Sampietro, 5 July 1905 – 8 July 1982). In the 1930s she worked with titans of European art cinema like Max Ophüls (La Signora di tutti (Everybody's Woman) (1934)). Later in the decade Miranda was fleetingly (and unsuccessfully) imported to Hollywood as a would-be rival to Marlene Dietrich. Her notable later films include Summertime (1955), Do You Know This Voice? (1963) and Liliana Cavani's notorious Il portiere di notte (The Night Porter (1974). She also diversified into television, with a wild guest appearance on a 1967 episode of The Avengers. But I have a soft spot for the bizarre low budget 1964 Euro-exploitation flick Dog Eat Dog starring Jayne Mansfield and Cameron Mitchell. Miranda must have wondered where the hell her career went wrong!

#isa miranda #italian actress #italian cinema #max ophüls #european art cinema #marlene dietrich lookalike #lobotomy room #the night porter

[hiddenbyleaves]

Letter from an Unknown Woman (Max Ophüls, 1948)

#letter from an unknown woman #joan fontaine #max ophüls #film #cinema #cinematography

[byneddiedingo]

Simone Simon and Daniel Gélin in Le Plaisir (Max Ophüls, 1952)

Cast: Claude Dauphin, Gaby Morlay, Madeleine Renaud, Ginette Leclerc, Mila Parély, Danielle Darrieux, Pierre Brasseur, Jean Gabin, Jean Servais, Daniel Gélin, Simone Simon, Paul Azaïs. Screenplay: Jacques Natanson, Max Ophüls, based on stories by Guy de Maupassant. Cinematography: Philippe Agostini, Christian Matras. Production design: Jean d’Aubonne. Film editing: Léonide Azar. Music: Joe Hajos. 

Pleasure, as the poets never tire of telling us, is inextricable from pain.  Le Plaisir is an anthology film dramatizing three stories by Guy de Maupassant that center on what has been called the pleasure-pain perplex. An elderly man nearly dances himself to death in an attempt to recapture his youth. The patrons of a brothel quarrel and even come to blows when they discover that it is closed. An artist marries his mistress to atone for his cruelty to her. Max Ophüls brings all of his elegant technique to the stories, including his characteristic restless camera, which prowls around the wonderful sets by Jean d'Eaubonne, who received a well-deserved Oscar nomination for art direction. It's also, like Ophuls's La Ronde (1950), an all-star production -- if your stars are French. Claude Dauphin plays the doctor who treats the youth-seeking dancer; Madeleine Renaud is the madame of the brothel, Danielle Darrieux is one of her "girls," and Jean Gabin plays the madame's brother, who invites her to bring the girls to the country for his daughter's first communion, hence the temporary closure of the brothel; Daniel Gélin is the artist, Simone Simon his model/mistress, and Jean Servais his friend who also narrates the final section. Of the three segments of the film, the middle one is the longest and I think the most successful, moving from the raucous opening scene in which the men of the small Normandy town discover the brothel closed into a comic train ride to the country, which is as fetchingly pastoral a setting as you could wish. The sequence climaxes with the filles de joie dissolving in tears at the first communion -- the little church in which it takes place is one of d'Eaubonne's most inspired sets -- then returning to town and a joyous welcome. Ophuls never lets us inside the brothel: We see it only as voyeurs, through the windows. Nothing of this segment is "realistic" in the least, making the melancholy first and last segments more important in establishing the film's theme and tone. The first segment does its part to set up the course of the film as a whole, beginning with a riotous opening as tout Paris flocks to the opening of a dance hall, a pleasure palace, followed by scenes of lively dancing, then the collapse of the elderly patron, who is wearing a frozen and rather creepy mask of youth, and concluding with the bleakness of his normal existence, tended by his aging wife, who is fittingly played by Gaby Morlay, once a silent film gamine. The final segment is the bleakest of all, as the film concludes with the artist pushing his wheelchair-bound wife along the seashore, penance for having provoked her suicide attempt.

#Le Plaisir #Max Ophüls #Simone Simon #Daniel Gélin

[genevieveetguy]

You know how it goes. Contempt has always followed possession. To spend your whole life with someone, you don't need lust - which is quickly extinguished - but a harmony of minds, temperaments, and humor.

Le Plaisir, Max Ophüls (1952)

#Max Ophüls #Jacques Natanson #Claude Dauphin #Gaby Morlay #Madeleine Renaud #Ginette Leclerc #Mila Parély #Danielle Darrieux #Pierre Brasseur #Jean Gabin #Jean Servais #Daniel Gélin #Simone Simon #Philippe Agostini #Christian Matras #Joe Hajos #Léonide Azar #1952

[petersonreviews]

Barbara Bel Geddes and James Mason in Caught, 1949 

#barbara bel geddes #james mason #caught #1940s #40s #max ophüls #film noir #vintage #black and white #old hollywood #classic hollywood #hollywood golden age #vintage hollywood

[mydarkmaterials]

#film #max ophüls #letter from an unknown woman #joan fontaine