This 1950 film was considered quite scandalous in its day especially in America. The essential premise of characters having sex without marriage shocked conservative moviegoers even though it was done with wit and style and doesn’t show you anything improper. It was based on an 1897 play by Viennese doctor turned playwright Arthur Schnitzler called REIGEN which created even more of an uproar back then. Adolf Hitler considered it absolute filth.
I first saw this film back during my college days and dreamed of playing on stage the narrator who is interactive throughout the story. Imagine my surprise when I obtained an English copy of the play and discovered there was no narrator in it! The filmmaker had created the character to enhance the film and indeed he does. As played by Anton Walbrook (the impresario of THE RED SHOES), he is the epitome of Old World grace and charm and has the best lines as well. No wonder as he is supposed to be the alter ego of the director himself.
The title REIGEN (ring or circular movement) refers to the nature of the play where one character has sex with another who then has sex with someone else and so on until, coming full circle, it ends with a final character having sex with the first one. All of the encounters take place off camera and there are even amusing attempts by the narrator (who introduces each character) to occasionally censor the action. The symbol of this “circle of love” which occurs throughout the film is a carousel or merry-go-round.
The film was made by Max Ophuls, a German filmmaker who wound up in France by way of the United States. His films are famous for his continually moving camera and interesting visual compositions. He was reportedly Stanley Kubrick’s favorite director. Aside from the Austrian born Walbrook, the film features the top French acting talent of the day including Danielle Darrieux, Jean-Louis Barrault, and just starting her career, Simone Signoret. The celebrated music, including the LA RONDE theme, was composed by Oscar Straus (no relation to Johann).
I could go on and on about this film but I’ll restrain myself. The simplest thing for you to do is to go out and rent it to see for yourselves and I wouldn’t be surprised if you wind up buying it. Of course it is “old-fashioned’ filmmaking. It’s in black and white, has elegant tracking shots, and is full of characters who have something to say (even if it’s in French) which means its appeal will unfortunately be limited to those who prefer more “upscale” fare. Yet if you take the time to sit back and take it in (and that’s important), then you’ll be amply rewarded. It’s a film you may find yourself returning to again and again. This Criterion edition is beyond reproach.
The Capsule Critic 