<i>La Ronde</i>. 1950. France. Directed by Max Ophuls. Image courtesy of The Austrian Film Museum
  • La Ronde

    1950. France. Max Ophuls. 110 min.

  • Vienne en Tramway

    1906. France/Austria. Pathé Frérès. 4 min.

Saturday, March 8, 2014, 4:00 p.m.

Theater 2 (The Roy and Niuta Titus Theater 2), T2

  • La Ronde

    1950. France. Directed by Max Ophuls. Screenplay by Ophuls, Jacques Natanson, based on the Arthur Schnitzler play Reigen. With Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Danielle Darrieux, Jean-Louis Barrault. Shot entirely on a sound stage in postwar France, Ophuls’s transcendent adaptation of Reigen, the Schnitzler play that scandalized fin-de-siècle bourgeois audiences, is a caprice viennoise of love affairs that are, by turns, deliriously romantic, tenderly comical, and hopelessly disappointing. As each tryst begets the next until the story comes full circle, lovers are victim to their own fickle desires and illusions, realizing only too late that enchantment and ecstasy are but a fleeting ride on the carousel of life. “Ophuls’s is the cinema of movement because time and the heart die when they stand still,” David Thomson writes. “His films are not decorated by movement, they consist of it.” Ophuls’s signature style—ornately choreographed tracking and crane shots; rococo décor, music, and mise-en-scène; an intoxicating blend of fantasy and psychological naturalism; and a Brechtian use of narrators and flashbacks for distancing effects—had a profound influence on such contemporaries as Luchino Visconti, Jean Renoir, and Vincente Minnelli as well as more recent masters like Martin Scorsese, Aleksandr Sokurov, Paul Thomas Anderson, Stanley Kubrick, and Richard Linklater. Courtesy Janus Films. In French; English subtitles. 110 min.

  • Vienne en Tramway

    1906. France/Austria. Produced by Pathé Frérès. Travelling without moving: This early “phantom ride,” shot from a moving tram as it journeys throughout the streets of turn-of-the-century Vienna, was produced by the pioneering French company Pathé Frérès, and is a prime example of the pre-narrative “Cinema of Attractions.” Courtesy The Austrian Film Museum. 4 min.

In the Film exhibition Vienna Unveiled: A City in Cinema

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