Max Ophuls's reputation as one of the greatest of all film directors seems principally based on the films he did in Europe such as The Earrings of Madame De... (1953) and Lola Montes (1955), about which Andrew Sarris famously proclaimed “the greatest film of all time.” But before he got to those he was a temporary exile in Hollywood along with many of the greatest film directors of the 20th century, all European, all having fled from war-torn Europe. Some thrived in their new exotic environs (Billy Wilder, Fritz Lang), while some never quite regained their former stride (let’s at least think about including Jean Renoir here).
In Hollywood Max Ophuls made some of the most sophisticated thrillers of the late 1940s and yet, because they dealt with American women, were snubbed as "women's pictures" at the time. Both Ophuls's Caught and The Reckless Moment were released in 1949, ending the decade on a high note for nuanced portrayals of women attempting to navigate a darkened moral universe made unavoidable by the post-war era even as the coming Atomic Age onslaught of The Donna Reed Show was about to begin.Continue Reading
Back in 1958 Vertigo was considered a misfire from the master of suspense, Alfred Hitchcock, but now over 50 years later, with a strong restoration and a number of clever reissues, many deem it one of Hitch’s best films and maybe his most personal. Like Notorious before it, underneath the suspense it’s a love story, but a twisted kind of love, obsession. Jimmy Stewart finishes off his Hitchcock trifecta after The Man Who Knew Too Much and Rear Window (not counting the much earlier Rope), putting a twist on his everyman and giving one of the most complicated psychological performances of his career. Vertigo also proves to be career peaks for the stunning Kim Novak and for film composer Bernard Herrman. If you can get past some of the plottyness of the film's first act Vertigo proves to be a film worth obsessing over.
The film is based on the novel The Living And The Dead by the French writing team of Pierre Boileau and Pierre Ayraud, who also wrote the deliberately Hitchcockian thriller Les Diaboliques (whose film version by Henri-Georges Clouzot had a big impact on Hitch and helped to push him in the more shocking direction that lead to Psycho and later Frenzy).Continue Reading