Word: walbrook
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...melodrama and, no matter what the heroine's fate, decided to put on ballet slippers? Michael Powell and Emeric Pressburger's fevered parable of ballet's uneasy kinship of music and dance turned an art-business into a battlefield of egos, lusts and near demonic possessiveness. It established Anton Walbrook as the Svengali of his day and made a star of Moira Shearer...
...other people's 100. About the famous dancer/mistress who had affairs with people like Ludwig of Bavaria and that composer who travelled around in a wagon--Liazt. I think, or maybe Griag. Max Ophuls's last film, made in 1955 in color with Martina Carol. Anton Walbrook and Peter Ustinov. Part of Harvard-Epworth's Ophule festival. The Shadow Catcher, at the Welles, sounds real interesting. About Edward S. Curtis and the Native Americans he photographed and filmed at the beginning of this century. With narration by Donald Sutherland and Patrick Watson. Showing with it is Thomas Edison...
Ophuls maintains a balance between scheme and characters by acknowledging and mocking the scheme. The meneur d? jen (Anton Walbrook), who opens the film by addressing the audience, keeps returning to change seenes between the ten episodes which compose the film. His appearances as functionaries-headwaiters, coachmen-are at once pleasantly obvious and sparked by unexpected twists which it would be criminal to reveal. Ophuls similarly keeps a sustained irony from overweighting the episodes, by employing a formal inventiveness remarkably responsive to the nuances of each situation. The subtle differences of class, age, and character of each person affords Ophuls...
...third is a brilliantly played will-he-or-won't-he-fall skit, full of characters walking to and from each other through luxurious rooms, and using astounding angled shots and hard cuts. The fourth episode involves us in a more deeply felt assignation-and so the drama proceeds. Walbrook's appearances becoming rarer and shorter...
...Ronde is hardly so dark. In large part it simply invites its audience to watch a divertissement. But Anton Walbrook's introduction mentions our "curiosity...people want to see all sides of life." This "curiosity" makes us follow the affairs of Ophuls' characters and sets up the final reversal when the plot comes full circle. Emotions that began the film trivial and simple, and became deeper and more important to the characters, are lost in the proliferation of incidents and characters. Our detachment imperceptibly increases as his characters grow older and more sophisticated, as their relations become games between people...