Lola Montès (The Fall of Lola Montes) (The Sins of Lola Montes) (1955)
Average Rating: 7.9/10
Reviews Counted: 30
Fresh: 26 | Rotten: 4
No consensus yet.
Average Rating: 7.4/10
Critic Reviews: 14
Fresh: 12 | Rotten: 2
No consensus yet.
Average Rating: 3.8/5
User Ratings: 1,246
Max Ophuls' final film (and his only movie in color) is a cinematic tour-de-force masquerading as a biography, in this case a dazzling fictionalized life of the notorious 19th century dancer, actress, and courtesan. A still beautiful, but weary and disillusioned (and, as we later discover, ailing) Lola Montes (Martine Carol) is first seen as the featured attraction at a seedy American circus, appearing at the center of a series of various tableaux depicting the scandalous events for which she is
Dec 23, 1955 Wide
Feb 23, 1999
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Lola Montes is mainly a triumph of vibrancy and metaphor. Nonetheless it's quite an experience.
In some odd way, the huge production scale and marvelous widescreen color scheme make Lola Montès seem more distant and artificial than Ophüls' smaller-scale black-and-white films.
Some fetching period observation appears from time to time, but life is rarely breathed into this frilly opus.
The net result is pure Ophuls, his signature recognizable in nearly every scene and, despite its very poor initial reception, one hell of a movie.
as Lola, Martine Carol should compel our attention, but instead merely toys with it
Ophuls... contrasts the outrageous sensationalism of her reputation... with offstage moments of tender candor and poignant, poetic flashbacks
With all due respect to film critic Andrew Sarris, Max Ophüls' legendary Lola Montès is not 'the greatest film ever made.'
Ophüls' style co-stars, paralleling and reinforcing stage artificiality with tracking and crane and pan shots, fluidly tilting to emphasize romance as opposed to "reality."
A bodice-ripper invested with the profundity of a Stendhal novel, Lola Montes is also, even more than La Ronde, Ophüls's definite commentary on movie-watching.
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