Word: boudoired
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Languid Infatuation. What Director Ophuls has made of these boudoir trivialities is a veritable Fragonard in motion. Not since Jacques Feyder's Carnival in Flanders has a picture tried so many things at once and brought them all off so well. To begin with, the wonderfully overdone upper-class interiors (designed by Jean d'Eaubonne) are photographed with a languid infatuation that moviegoers who saw La Ronde and Le Plaisir will recognize as characteristically Ophulent. And yet, at the same time, it is clear that Ophuls is unmistakably smiling at his own bad taste...
Strangely enough, ten seductions become tedious, although Anton Walbrook does his best to keep between boudoir scenes diverting. Representing himself as "everyone and no one," Walbrook leads the merry-go-round as an omniscient spectator, introducing the participants and commenting wryly on the spectacle. At appropriate moments, the camera leaves the lovers and returns to the master of ceremonies. One suspects, however, that these exits have become hastier since the film's Boston debut, and that the bedroom lights fade out much sooner than director Max Ophulus intended...
Casanova's Big Night (Paramount). "I'll scream for help," the lady protests, and no wonder. The Technicolored thing that has just waddled into her boudoir looks something like Louis XIV converted into a floor lamp. It turns out to be Bob Hope, cast as a sort of tailor's dummy who wishes he were man enough to fill Casanova's britches. And to the lady Hope replies (in a long, low-slung, sports-model voice that slides up to the listener's mental curb and honks suggestively): "I don't need any help...
...received in the royal bed. His Queen. Marie Therese, had to compete with a succession of mistresses and hordes of passing amourettes until she died. Six months later. Louis' mistress, Madame de Maintenon. became his wife and, at 46. the King suddenly closed the door on his boudoir career...
...becomes obvious and annoying. This consideration would seem to proscribe the use of CinemaScope for the filming of epics. The Robe, with its Biblical sweep, is easily adopted to the requirements of the large screen. It is doubtful, though, that this medium could be used successfully with intimate boudoir comedy...