rEConSidErATion LAURA MULVEY THE EARRINGS OF MADAME DE . . . The Earrings of Madame de . . . (or just Madame de . . . , the original French and U.K. title by which I have always known it) was Max Ophulsâs penultimate film, preceding the difficult experience of Lola Montes (1955) and his untimely death at the age of fifty-five in 1957. Into it, as though he somehow sensed that his career was about to end, he collected so many of the themes that had preoccupied him over the previous two decades, reaching back to his first major production, Liebelei (1933), that the film feels almost like an Ophuls compendium. For this display of repetition and return, he chose a story that is actually about repetition and return, drawing attention to the way in which repetition is a theme in many of his films (as critics have pointed out). Scenes at railway stations or the opera recur in a number of the films, as do camera positions, gestures, words, and phrases. Such recapitulations give his films a rhythmic beat, which is accentuated by the trademark mobile camera, a key stylistic connection in his cinema. After Ophuls
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The Earrings of Madame de …
Mulvey, Laura
Follow Film Quarterly
, Volume 62 (4)
University of California Press – Jun 1, 2009
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