
	Where results make sense

Topic: Max Ophuls

Related Topics

Max Wolf

Max Planck

Max Weber

Max Ernst

Max Born

Mad Max

Max Stirner

Max Fleischer

Max Aitken

Max Horkheimer

Max Roach

Max Baer

In the News (Wed 23 Dec 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	Max Ophuls
		Ophuls' most successful film was his first back in France after an uneasy exile in Hollywood.
		To the tune of Oskar Straus' infectious waltz, Ophuls' fluid camera threads through an opulent world of cafes, boudoirs, and misty streets in the Vienna of 1900, as each character repeats the same words and gestures with a different partner, deceiving and deceived.
		Max Ophuls was born in Germany, and changed his name to spare his well-to-do Jewish family shame when he became an actor.
	www.lycos.com /info/max-ophuls.html (588 words)

	Max Ophüls - Wikipedia, the free encyclopedia
		Max Ophüls (May 6, 1902 – March 25, 1957) was a German-born film director.
		He was born Max Oppenheimer in Saarbrücken, Germany.
		For his work in the German theatre and film industry he used the pseudonym Ophüls, but later the umlaut was dropped occasionally when he worked in France and the United States.
	en.wikipedia.org /wiki/Max_Ophuls (301 words)

	Luminous Psyche \| News
		Ophuls insists that his audience take responsibility for seeing through his cinematic style, through the armoring and exposing glass panes of doors and windows; proscenia and stairways that dwarf the humans who use them; banisters, chairbacks, grillwork, foliage, ropes and all the other lines and curlicues that stand between our gaze and his players.
		Ophuls presents the epistemological apparatus of his film to the viewer; he means for us to learn how film meaning is created, the way we come to understand the world he has created for our viewing pleasure.
		Ophuls might say that in the abyss between Christineâs window and Lolaâs cage lies the lost art of film, done in by faithless philistines who can be carried away by only the most vulgar performances of cinematic kiss-kiss, bang-bang.
	www.seattlefilm.org /news/detail.aspx?NID=22&year=2002 (2358 words)

	The Films of Max Ophuls (Site not responding. Last check: 2007-11-06)
		Ophuls suggests that there is something wrong with both prostitution and rich people's marriage in these works, as both depend on economic transactions, in which women are bought by the men.
		Ophuls is equally interested in the compositions revealed by his camera, as it moves.
		Ophuls was celebrated as one of the great directors in the article by François Truffaut that launched the auteur theory, "Une certaine tendance du cinema français" ("A Certain Tendency of the French Cinema") in Cahiers du Cinéma, No.
	members.aol.com /MG4273/ophuls.htm (4907 words)

	The Jewish Week (Site not responding. Last check: 2007-11-06)
		Max Ophuls fled Germany just as his career as a filmmaker was taking off, but his work continued to flourish.
		Born Max Oppenheimer in 1902, the scion of a wealthy Jewish family in the Saar region of Germany, Ophuls was fascinated by theater from an early age.
		Ophuls, by his own admission, was a terrible actor, so bad the producer of one play threatened to withhold his pay unless he doubled as director for free.
	www.thejewishweek.com /news/newscontent.php3?artid=12651&print=yes (480 words)

	DVD : Lola Montes
		Max Ophlus' s masterpiece is a true straight forward step in the cinematographic language, daring and betting against all the odds, in this extraordinary, genial and unrepeatable film that belongs to the Pantheon of the greatest movies ever filmed in the Cinema Story.
		Ophuls is a master film maker and watching Lola Montes is to watch what movies at their best are capable of.
		Max Ophuls last movie, Lola Montes, is now on DVD, though it has no special features, no trailer, merely filmography and a list of awards as well as scene selections.
	www.mp3carpc.com /630522885X/Lola_Montes.shtml (598 words)

	Samudaya.org :: View topic - salman rushdie new book "salimar the clown" (Site not responding. Last check: 2007-11-06)
		Ambassador Maximilian Ophuls, one of the makers of the modern world, is murdered in broad daylight on his illegitimate daughter India’s doorstep, slaughtered by a knife wielded by his Kashmiri Muslim driver, a mysterious figure who calls himself Shalimar the clown.
		The ambassador’s drivers tended to be short-term appointees, inclined to move on to new adventures in pornography or hairdressing, and Max was inured to the cycle of acquisition and loss.
		Max Ophuls is a highly distinctive name, well known to movie lovers as that of a German-born actor and stage director who, beginning in 1930, directed films in Germany, France, Russia, Italy, the Netherlands, and, after 1946, the United States.
	www.samudaya.org /bb/viewtopic.php?t=347 (585 words)

	Guardian \| Take it to the Max
		He is the alter ego of Max Ophuls, whose films are merry-go-rounds, moving to the sound of a waltz or a rondo capriccio as the camera tracks and circles.
		Ophuls, the subject of a retrospective at this year's Edinburgh film festival, does not wallow in nostalgia but summons up 19th-century Vienna or the Second Empire as part of the whirl of destiny in a danse macabre.
		Ophuls arrived in Hollywood in 1941, and had to wait six years before he was given a film to direct.
	www.guardian.co.uk /print/0,3858,4049392-104773,00.html (1310 words)

	Max Ophuls (Site not responding. Last check: 2007-11-06)
		Born in Germany in 1902, Ophuls fled to France in 1933 and to the United States in 1940; he returned to France in 1950 to make his four last and greatest films there before dying of a heart attack, in 1957.
		The flashbacks in which she remembers the past anticipate her end but free us from its pressure, as if life were an endless cycle of flights back and forward.
		Ophuls is unsparing toward his characters' vanities, hypocrisies, and self-deceptions, but it's clear he doesn't despise these people.
	www.bostonphoenix.com /archive/movies/00/02/24/max_ophuls.html (1248 words)

	Max Ophuls's Adaptation to and Subversion of Classical Hollywood Cinema (Site not responding. Last check: 2007-11-06)
		Max Ophuls is the only European director of his generation whose post-Hollywood films are now held in higher esteem than his earlier European work.
		One might argue that Ophuls had a proclivity for camera movement that, like his thematic propensities, remained constant throughout his career and that he was kept from continually using camera movement in increasingly sophisticated ways only by adverse circumstances.
		Ophuls often participated in the technical setup and learned to take full advantage of its capabilities, achieving for the first time a degree of fluidity anticipating that of his later French work.
	www.fipresci.org /undercurrent/issue_0306/bacher_ophuls.htm (3079 words)

	the music of time < program 2
		Ophuls' "dazzling visual symphony" (Georges Sadoul) is an elegant social comedy with ultimately tragic dimensions, focusing on the circular passage of a pair of earrings.
		Ophuls' rarely screened, first Hollywood film is a sublime portrayal of the exiled King of England Charles II, in hiding in Holland.
		Making the film whilst he himself was in exile, Ophuls lends his unmistakable cinematic flair to an established genre and the film delivers with moments of great daring, comedy and tenderness.
	www.acmi.net.au /457926C30E3148CDAEBABA2EA14C7428.jsp (171 words)

	MAX OPHULS
		Gemano-franco-américain, Max Ophuls, né Oppenheimer, a vu le jour en Sarre, haut-lieu du métissage transfrontalier.
		Ophuls est qualifié de "cinéaste baroque" par des critiques pressés et soucieux d'apposer des étiquettes et de ranger tout un chacun dans des catégories poussiéreuses et mal définies.
		Jamais Ophuls n'a transigé d'une quelconque manière avec les principes auxquels il croyait.
	www.karimbitar.org /ophuls (1232 words)

	Shalimar the Clown : A Novel (Site not responding. Last check: 2007-11-06)
		Max Ophuls’ memorablelife ends violently in Los Angeles in 1993 when he is murdered by his Muslim driver Noman Sher Noman, also known as Shalimar the Clown.
		Ophuls is a giant, an architect of the modern world: a Resistance hero and best-selling author, brilliant economist and clandestine US intelligence official.
		Max Ophuls is a "resistance hero from WW II", who escapes Nazi Germany to become a diplomat.
	494020.onlinesportdiscount.com /3439343032302d312d30363739343633333536.html (1646 words)

	The Stranger: Film (12/02/99)
		Max Ophuls was born Max Oppenheimer in 1902 in Germany; he changed his name to Max Ophüls out of deference to his family when he entered the "disreputable" entertainment field.
		His skill with actors was ignored; his stories were seen as fripperies, quaintly old-fashioned in their reliance on the trappings of fabulous wealth, affairs with foreign diplomats, Bavarian kings, or celebrated musicians, and dances and duels.
		Ophuls' son, Marcel, is justly lauded for his documentaries (Sorrow and the Pity, Hotel Terminus), but I've always admired Marcel Ophuls most for his earnest admission that his father's work is more humane, perceptive, and even educational than his own.
	cgi.thestranger.com /1999-12-02/film.html (544 words)

	[No title]
		Max Ophuls, who is considered one of the greatest film directors of all time, has long been seen as an "auteur"--the artist in complete control of his work.
		He describes how Ophuls ran the gamut from ghost writing to substitute directing, to a debilitating association with Preston Sturges and Howard Hughes, to making four films--Letter from an Unknown Woman and Caught among them--in thirty months, and then returning to Europe with a runaway production that was to have starred Greta Garbo.
		Throughout, Bacher demonstrates that Ophuls' bending of conventional Hollywood methods to his own will through compromise and subversion allowed him to achieve a style that was both uniquely American and a point of departure for his later work.
	rutgerspress.rutgers.edu /acatalog/__Max_Ophuls_in_the_Hollywood_Studios_680.html (502 words)

	Untitled Document
		Ophuls' version, half a century later, softened this mischievously bleak study of prosaic promiscuity by approaching it through a haze of poetic nostalgia.
		Ophuls dealt with this problem by various exercises in winsome ingenuity - the most striking being an urbane intervention from the Master of Ceremonies with a reel of celluloid and a pair of censor's scissors.
		Ophuls' camera refuses to be restricted by the obvious limits on motion imposed by successive duologues in successive bed-rooms.
	www.visual-memory.co.uk /sk/ss/laronde.htm (1068 words)

	Max Ophuls: A New Art - But Who Notices? (Site not responding. Last check: 2007-11-06)
		It is typical of Ophuls that the camera’s 90°-pan amplifies Louise’s semi-circular sweep across the screen. She grows bigger as she approaches from the background, exciting Donati; nearly brushes the camera and Donati at perigee; then grows small and distant, draining Donati - which amplifies her sweep even more.
		Yes, it may be true, technically, that Ophuls’ characters are the objects of Ophuls’ camera’s gaze, but as far as they themselves are concerned this camera is simply their megaphone.
		Ophuls’ long tracks and long takes emphasize things that seem neither emphemeral nor trivial, but are imponderable and cannot be “dealt with”: emotions, desires, anxieties, self-awareness, identity.
	www.filmint.nu /netonly/eng/ophuls.html (4680 words)

	The Exile
		Ophuls’ tender and generous women inevitably suffer, as the free-spirited and open-hearted Katie apprehends that her low birth demands she sacrifice her own happiness to the body politic’s, regretfully admitting the value of “all the things you’ll be able to do for so many people, all the wounds you can heal”.
		The Ophuls style is nothing if not linear, so critics have attempted to fix a definitive meaning on the camera movements, suggesting that motion equals emotion, or embodies a continuum of the moment that time passes, or perhaps the consciousness that the film has of itself.
		As François Truffaut noted, Ophuls’ camera sweeps the screen in tempo: “Rhythm was his predominant preoccupation – the rhythm of a film, of a novel, the novelty of someone’s walk, of a performer’s acting, the rhythm of a life….
	www.sensesofcinema.com /contents/cteq/06/39/exile.html (1881 words)

	Max Ophuls: A New Art - But Who Notices?
		Thus Max Ophuls, in preparing to shoot, would annotate each scene with a tempo, a mood — “allegro” or “andante cantabile” or whatever —— and was convinced he was doing what music does, but in cinema, visually (Lourié, 40).
		Max Ophuls left home to become an actor, became a director instead, and staged 200 plays and a few operettas before making his first movie.
		Lutz Bacher (in his Max Ophuls in the Hollywood Studios, New Brunswick: Rutgers, 1996) demonstrates that some exceptions exist which Ophuls was compelled to shoot, for example, Stefan looking up at Lisa from the Opera floor.
	www.sensesofcinema.com /contents/02/22/ophuls.html (5742 words)

	Max Ophüls
		The director Max Ophuls (Max Oppenheimer) was born in 1902 in Sarrebrück into a family of industrialists.
		Ophuls returned to studios in France where he was finally free to express his genius in La Ronde (1950), again adapted from Schnitzler, Le plaisir (1952) and Madame de (1953).
		In these films Ophuls obtained a perfect balance between the classic and the Baroque to deliver his vision of the human condition as both deeply tragic and terribly superficial.
	www.pardo.ch /1997/filmprg/r036.html (313 words)

	La Signora Di Tutti \| Plot \| MTV Movies
		Max Ophuls' La Signora di Tutti can be regarded today as a dress rehearsal for his 1955 masterpiece Lola Montes, though it comes nowhere near the brilliance of that later classic.
		In her heyday, the actress' haunting beauty was enough to drive men mad--and some to the point of killing themselves.
		Modern audiences may have trouble keeping a straight face during some of the more heated passages, but Ophuls' basic premise--that fame and celebrity are ultimately hollow entities--is not to be taken lightly.
	www.mtv.com /movies/movie/19669/plot.jhtml (302 words)

	Lola Montes
		This melodrama about celebrity mistress, Lola Montes and the many men in her life is director Max Ophuls most controversial, if not his greatest work.
		A hugely expensive project, and Ophuls only work in colour and CinemaScope, it was famously taken from the director and substantially red-edited by its producers from 140 minutes to 92 minutes, inspiring impassioned debate and even punch-ups among French audiences.
		While the viewers are left to make up their own mind about Lola, she is ultimately left to decide whether she will give in and be destroyed by her tormenters at the circus, or whether she will escape through the only route open to her.
	www.kinocite.co.uk /13/1349.php (444 words)

	Random House \| Books \| Shalimar the Clown by Salman Rushdie
		Max Ophuls’ memorable life ends violently in Los Angeles in 1993 when he is murdered by his Muslim driver Noman Sher Noman, also known as Shalimar the Clown.
		Ophuls is a giant, an architect of the modern world: a Resistance hero and best-selling author, brilliant economist and clandestine US intelligence official.
		The ambassador’s drivers tended to be short-term appointees, inclined to move on to new adventures in pornography or hairdressing, and Max was inured to the cycle of acquisition and loss.
	www.randomhouse.com /catalog/display.pperl?isbn=9780679463351 (677 words)

	The New York Review of Books: Massacre in Arcadia
		Ophuls, "a man of movie-star good looks," grew up in "a family of highly cultured Askenazi Jews" in Strasbourg.
		But such characters as Ophuls often appear unable to emerge from the textual and historical references they are burdened with.
		Max Ophuls seems to share not much more than a hybrid European background with his namesake, the French-German film director.
	www.nybooks.com /articles/18295 (3445 words)

	Max Ophuls Beyond Borders
		From 1930 to 1955, in 23 feature films, Max Ophuls established himself as one of the great directors in world cinema.
		Above all else, Ophuls is remembered for his sensuous cinematic style: his fluid long takes, his mobile camera delicately caressing the opulent decor of his lavish sets.
		Max Ophuls Beyond Borders is sponsored by the Kimball Theatre, the College of William & Mary, the Goethe Institute, and the German Academic Exchange Service (DAAD).
	www.math.wm.edu /~trosset/Ophuls.html (249 words)

	Max Ophüls (Site not responding. Last check: 2007-11-06)
		Max Ophüls (May 6, 1902 - March 25, 1957) was a German born film director.
		Max Ophüls was born as Max Oppenheimer in Saarbrücken, Germany.
		That a film which panders to base human emotions is a breeding ground for sensuality, depravity, licentiousness and sexual immorality can hardly be doubted.
	www.jahsonic.com /MaxOphuls.html (294 words)

	The History of Cinema. Max Ophuls: biography, filmography, reviews, links
		Max Ophuls (ebreo oriundo francese) nacque ad Amburgo e dimostrò giovanissimo doti per dirigere spettacoli teatrali e musicali; dalla fine della Prima Guerra Mondiale al principio degli anni Trenta si dedica con crescente successo a questa attività, allestendo lavori di Brecht, Zweig, Mozart e Verdi in diverse città tedesche, da Vienna a Berlino.
		Ophuls non potè assistere alla prima perché l'inizio della persecuzione antisemita lo aveva costretto all'esilio; nel 1934 fu in Italia, nel 1935 in Olanda e nel 1936 si stabilì in Francia, ma l'umiliazione dell'esilio e il continuo girovagare influirono negativamente sulla sua ispirazione, che si affievolì in un pessimismo ironico e in un freddo disimpegno.
		Tornato a Parigi nel 1950 (per soggiornarvi fino alla morte, sopraggiunta nel 1957), Ophuls potè finalmente realizzare in piena libertà i suoi ultimi film, tutti e quattro pregni di quelle quattro caratteristiche: pessimismo ironico, nostalgia per il passato, sentimentalismo, scenografia barocca.Il sentimentalismo in particolare scaturiva dal contrasto fra l'amore e la morte.
	www.scaruffi.com /director/ophuls.html (727 words)

Try your search on: Qwika (all wikis)