Max Ophüls
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The French Dispatch of the Liberty, Kansas Evening Sun (2021)
Directed by Wes Anderson
influenced by Le Plaisir (1952)
Visuals
All of which is a mini-film unto itself, and also a loving nod, I’d guess, to “Le Modèle,” the final chapter in the greatest of all portmanteaux, Max Ophüls’s “Le Plaisir” (1952).
The heavily improvised "Song to Song," which was originally called "Lawless" and then "Weightless," harks back to the Arthur Schnitzler play "La Ronde."
The Great Gatsby (2013)
Directed by Baz Luhrmann
influenced by The Earrings of Madame de... (1953)
Themes
It is “superficially superficial,” to borrow a phrase from a far greater film that explores similar themes, The Earrings of Madame de…
It's a gleefully randy romantic roundelay, in the tradition of Max Ophuls' serially sexual French comedy "La Ronde" (1950).
When their cheating comes out in the open, Larry goes to a strip club and inadvertently runs into Alice -- and on, and on, like a snide British version of La Ronde (1950).
In a time of timid projects and easy formulas, "The Red Violin'' has the kind of sweep and vision that we identify with elegant features from decades ago--films that followed a story thread from one character to another, such as "Tales of Manhattan'' or "La Ronde.''
If not worthy of Lola Montès, the influence is clearly there.
Smiles of a Summer Night is easily compared to a buoyant, agile movie like Max Ophuls' La Ronde (1950).
The movie would have worked better if it were structured more like Arthur Schnitzler's classic tale of love, "La Ronde," which is enjoying an adaptation currently on Broadway.
The Grand Budapest Hotel (2014)
Directed by Wes Anderson
influenced by The Earrings of Madame de... (1953), Letter from an Unknown Woman (1948)
Visuals
If you’ve seen Grand Hotel, or Grand Illusion, or The Earrings of Madame de…, you’ll appreciate the loving sense of homage.
Just as great is Ophuls’ adaptation of Zweig’s novella “Letter From an Unknown Woman,” which contains a sequence that shames the artifice of “The Grand Budapest Hotel.”
In terms of movie history, he wrote the novella that led to Max Ophuls’ Letter from an Unknown Woman (1948).
The Max Ophuls film of Zweig’s “Letter from an Unknown Woman” is one of the great triumphs of sentimental 1940s period piece production design, just as “Budapest” is the greatest expression of Anderson’s love of ornate buildings, old money, older furniture, tiny models and modish, saturated colors.
Badlands (1973)
Directed by Terrence Malick
influenced by Letter from an Unknown Woman (1948)
Themes
Not unlike Max Ophüls' Letter from an Unknown Woman (1948) the grounding of this storytelling function within the female character has significant, explicitly critical, effects.
Born in Germany, Ophuls worked in five countries over the course of his 25-year career -- most successfully in the U.S. with Letter from an Unknown Woman and in France with La Ronde, Le Plaisir, The Earrings of Madame de... and his final film, Lola Montes.
Despite the naturalistic mayhem Refn deployed in his widely praised Pusher trilogy (violent, drug-dealer demimonde in darkest Denmark) and for all the bellowing fisticuffs here, Bronson is essentially a faux-operatic, music hall turn—a larky, lumpen version of Lola Montès.
It’s not unlike Arthur Schnitzler‘s La Ronde (1950) on speed, set in a tawdry Noir Los Angeles.
Alluding perhaps to the opening movement of Max Ophuls's adaptation of Schnitzler's La ronde (last seen on stage with Kidman's butt as The Blue Room), Kubrick -- who admired Ophuls and imitated him in camera movement if not in movements of the soul -- has Domino invite Bill to "come inside with her," an attempted coupling that's disrupted when that damned cell phone rings again and Alice asks when Bill's coming home.
It's based on a play by Arthur Schnitzler, who also wrote the novel upon which Eyes Wide Shut is based.
The title suggests a dream, or "seeing with your eyes closed," and the film is based on "Dream Story" (or "Traumnovelle"), a 1926 novella by Viennese writer Arthur Schnitzler ("La Ronde").