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Lola Montes

Lola Montes(1955)

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  • TCM's timing is off again

    • Anthony
    • 6/10/18

    Andrew Sarris calls Lola Montes perhaps the greatest movie ever made (I wouldn't know, I've never seen it). Even if he's wrong, it's clear this is no throw-away movie. So what's it doing on on a Wednesday morning when no one can see it? Also, please show Ophuls' Letter from an Unknown Woman. Stunning picture. But please put it on in prime time so people can actually see it.

  • lola montes

    • kevin sellers
    • 5/18/18

    Ophuls is such a beguiling director that it wasn't until I was about halfway through that I realized what a complete and utter downer I was watching about a woman's inability to fully love, as well as the exploitation of celebrity. Once that realization sunk in the second half became more of a tortuous slog than a well paced, poignant whirl, such as I have come to expect from the director of "La Ronde" and "Madame De." Still, there are extended periods of the Ophuls magic, such as the scenes with the young Lola, her promiscuous mom, and her mom's boyfriend (later to be L's first husband) that give us a clue why Lola could never commit to a man, and the great stuff in Bavaria with the triangle of Lola, the sad, older king played so affectingly by Anton Walbrook, and a young Oscar Werner as a rebellious student. And Peter Ustinov as an insidiously decadent master of ceremonies foreshadows Joel Grey in "Cabaret." As for Martine Carol in the title role, I must respectfully disagree with previous reviewer, Goetan. While there is no question that, compared to the more flamboyant Ustinov and Walbrook, Carol underplays it, there is a rather large line between underplaying and "dull", a line that Carol assiduously keeps to the right side of. So let's give Ophuls' only color film, which, in my opinion is ironically his darkest, a B plus.

  • a nice romantic downer.

    • a.morris
    • 4/30/18

    the story and the style of it was not something I would normally watch. I am glad I did though. it was an interesting concept in how it was presented. that method has been done many times now. at the time this was made.. the idea was still fresh. many people worked hard on this.. great work should always be appreciated. this feels like a horror of romance story. the main character is a tragic.. sad female Casanova. the main character was placed in lousy circumstance from a certain moment on. that made the story also feel like film noir with a variation ..emotional uncertainty mixed with want of something.. that the main character does not know. this fits a type of horror because the main character.. despite looks or charm cannot connect long term with anyone. the thing that makes her wanted.. causes the end of relationship. maybe this type of story could be called romantic heath or romantic void.. bitter nature to any would be love. enough babble.. the sequence of jumping around the timeline of the main character was good. the closing scene was proper of a silent movie.. artistic and sad. not the type of story for me to enjoy.. but to respect.

  • Lola Montes

    • Goetan
    • 4/22/14

    The final film of director Ophus and his only coloured picture. Carol's dull performance as Lola, mistress to Franz Liszt and King Ludwig of Bavaria, allows for better actors like Walbrook and Ustinov to paint their fantasies on to her blank face. Showing her affairs via flashbacks from a Circus setting, Lola looks back on her overly romantic affairs while she's reduced to performing in Ustinov's circus. A kaleidoscope of colour and movement, Ophus knows what the film is and excels at creating a unique extravaganza. I give it a 3.5/5.

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