This exacting and sumptuous restoration of Max Ophüls's last film, from 1955, recovers not just the movie's look but also its meaning.
| Original Score: 4/5
Watch Lola Montes and you may never watch a movie the same way again.
Lola Montes is mainly a triumph of vibrancy and metaphor. Nonetheless it's quite an experience.
| Original Score: 3.5/4
Seen on a big screen, this is a movie to get drunk on.
| Original Score: 4/4
Max Ophüls' 1955 masterpiece gets a superb restoration.
| Original Score: 4.5/5
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.
A baroque masterpiece by Max Ophuls, his last film (1955) and his only work in color and wide-screen.
Lola Montès could never be confused for realism in any format: home video, theater or iPod. But its effectiveness as a tragedy relies on Ophüls setting out a luxurious spread for his hapless heroine.
| Original Score: 4/6
I recommend Lola Montès wholeheartedly both for its sensuous delights and its ever exquisite artistry.
Ophüls conjures that space into life -- indeed, makes it the very subject of his film -- by means of the most sumptuous stylistic effects imaginable.
It is all of a piece from beginning to end: The mood, the music, the remarkably fluid camera movement, the sets, the costumes.
Ophüls makes the story of Lola Montes (Martine Carol), the successful nineteenth-century courtesan (if only so-so Spanish fandango dancer), into a visually dazzling, ironic commentary on celebrity.