Lola Montès [1955)

Throughout human history, many strands of activity have intertwined.

Let us take but two and ponder them for a moment:  romance and war.

Ah, romance…

What is romance nowadays?  Is it a glossy paperback with dog-eared corners?  Is there a mane of red hair?  A swelling bosom?

Or is romance chivalry?

After you.  Je vous en prie.

No.

Romance has not survived.

Who are we kidding?

For romance to have survived, love would also have had to survive.

But wait…

I see…here and there.  Is that not love?

Ah…romantic love.  A different thing.

I assure you, dear reader, if you have made it this far into my ridiculous litany of theses that you shall be rewarded for your efforts.

What we have here is the final film by the great Max Ophüls.

I have heard this picture described as a flawed masterpiece.

Pay no mind to such estimations.

This is the product of a genius spilling his guts onto the celluloid canvas.

Film.  Celluloid.  When did it start?  When did it end?

Once upon a time, film was flammable.

And our film is certainly flammable.

Martine Carol, who plays Lola Montès, is one of a kind.

This particular performance…I must admit, this is one of my favorite films…such a powerful experience.

But Carol is not alone on the grand stage.  No…  This production would not be the breathtaking spectacle it is without the incomparable Peter Ustinov.

Ustinov is the ringmaster.  As in circus.

The important point to note is that Ophüls made a psychological metaphor of the circus…and created a film which is probably the longest extended metaphor ever captured by motion picture cameras.

But it is not a typical circus.

It is a nightmare circus.  A cusp-of-dream circus.

Every shot is effused with symbolism.

The little people…haunting Oompa Loompas…little firemen from a Fahrenheit 451 yet to be filmed.  Bradbury had published in 1953.  But it would necessitate Truffaut in 1966 to make the thing so eerie.  It is that specific vision…the firemen on their futuristic trucks…which Lola Montès prefigures.  The little people.  From Freaks by Tod Browning through Lola Montès to the cinematography of Nicolas Roeg.  And the tension of Bernard Herrmann.  From Psycho to Fahrenheit 451.  And even Oskar Werner (who plays a sizable role in Lola Montès).  From here to Truffaut.

But the nightmares are only horrible because her life was so vivid…Lola Montès.  First with Franz Liszt.  And then with mentions of Chopin and Wagner.  Even Mozart…

This was romance.  A different time.

What love would sustain a warrior in battle?

Simple love.  Honest love.

And yet, what love drives a man to the edge?

Romantic love.  The femme fatale.  Why is it that we never hear of the homme fatal?

All kidding aside, I want to make a very serious point about Lola Montès.  It is my belief that this film represents an admirably feminist perspective the intensity of which I have seen nowhere else than in 4 Months, 3 Weeks and 2 Days (4 luni, 3 săptămâni și 2 zile).

For 1955, Lola Montès was a harrowing epic.  Because Max Ophüls was a true auteur, it has lost none of its wonder…even in our loveless, edgy world.

 

-PD

 

 

Modesty Blaise [1966)

Seldom have I seen a more enjoyable film than this jewel staring Monica Vitti.  Entered in the ’66 Cannes film festival, this spoof surely garnered little attention in a world dominated by the French New Wave.  And today it is not easy to write about a film which has been essentially written off.

Modesty (Vitti) is simply wonderful in this sunny film.  Her sidekick is Willie Garvin (Terence Stamp).  Based upon a British comic strip of the same name, Vitti was excellently cast–herself being 5’7″ and Modesty Blaise supposed to be 5’6″.  Though she was about 35 years old when this film was made, she doesn’t seem unduly cast as a late-twenties super-heroine.

Indeed, the comic strip itself predated this first film adaptation by only about three years.  The strip ran 10,183 installments (1963-2001).

Vitti had two years previous appeared in the Antonioni masterpiece The Red Desert.  Indeed, she was integral to his trilogy L’Avventura (1960), La Notte (1961) and L’Eclisse (1962).  By 1979 she was finally getting around to making her second English-language film An Almost Perfect Pair.  Modesty Blaise is half of her oeuvre in inglese.  Vitti would work with Antonioni one last time in 1981 on The Mystery of Oberwald.  In 1989 Vitti herself would direct the film Secret Scandal, but it would be her last (as of the present time) film appearance.

Our director, Joseph Losey, had helmed Eva in (1962) and in high school had been friends with Nicholas Ray.  Losey suffered extensively because of his investigation by the House Un-American Activities Committee.  Being unable to work in the U.S., he eventually made a career for himself in Europe (including The Go-Between [1971] which won the Palme d’Or).

Terence Stamp would follow Modesty Blaise up with the Pasolini film Teorema (1968).  By 1978 he was General Zod in Superman.  He reprised this role in 1980.  Stamp’s career initially got rolling in 1962 when he received an Oscar nomination for his role in Peter Ustinov’s Billy Budd.  Ustinov directed seven other films before dying in the canton of Vaud (Switzerland) in 2004.

Stamp would continue his screen presence in 1994’s The Adventures of Priscilla, Queen of the Desert and in The Limey (1999).  More recently he has appeared in Valkyrie (2008) and The Adjustment Bureau (2011).

And finally, what would our film be without the deliciously evil Dirk Bogarde?  Bogarde had previously acted for Losey in The Servant (1963) and would go on to follow Modesty Blaise with a turn in another Losey film titled Accident (1967).  In 1969 and 1971 he would appear in the Visconti films The Damned and Death In Venice (respectively).  It should be remembered that Losey called upon Bogarde as early as 1954 (The Sleeping Tiger).  For fans of “auteur theory,” let it be noted that Bogarde acted in a film co-written by Andrew Sarris:  Justine (1969).  In the 80s and 90s Bogarde turned to novel writing.

And so:  there you have it.  Modesty Blaise–a strange meeting point for a British comic strip, a gorgeous Italian actress, a blacklisted American director and a couple of British chaps (one eventually earning a Sir to precede his name).  I heartily recommend this film as it is joyful viewing and entertainment all the way through.  The facts are scant.  This is your dossier.

 

-PD