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La Ronde
An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes a maid and does similarly with the young man of the house. The young man seduces a married woman. On and on, spinning on the gay carousel of life.
Year: 1950
Studio: Films Sacha Gordine
Director: Max Ophüls
Cast: Adolf Wohlbrück, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gélin, Fernand Gravey
Crew: Max Ophüls (Director), Max Ophüls (Writer), Jacques Natanson (Writer), Arthur Schnitzler (Writer), Charles Merangel (Set Designer), Jacques Natanson (Adaptation)
Runtime: 95 minutes
Release: Sep 27, 1950
IMDb: 7.40/10 by 116 users
Popularity: 7
Country: France
Language: Français
Budget: 0
Revenue: 0
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The hugely charismatic Anton Walbrook takes on the role of our guide - using a carousel quite effectively as his prop - through this charming tale of sex. Delicately delivered - nothing graphic, vulgar or sleazy, but it's essentially a story of sex - with or without love! Aside from underpinning the narrative, Walbrook also portrays half a dozen ancillary characters as we embark on a Viennese Waltz with a difference. Initially, it's the gorgeous lady of the night "Léocadie" (Simone Signoret) who ensnares the poverty stricken soldier "Franz" (Serge Reggiani) and then like a 4x400m relay race, he in turn has a dalliance with "Marie" (Simone Simon) who meets "Alfred" (Daniel Gélin) who himself has his own cougar in the form of "Emma" (Danielle Darrieux) who is married to the wealthy "Charles" (Fernand Gravey) who has his own regular assignation with... Ultimately it all comes full circle with poor old "Léocadie" again! There's an inevitability to the story, I suppose, but somehow that doesn't really matter. It's quite a potent, sometimes honest sometimes idealistic, sometimes just plain daft - series of delightfully delivered vignettes that depict human nature in quite a natural way. Those that want, want to have; those that have are always the ones who want more, or don't know what they want - the grass is always greener? The writing allows the talented array of actors assembled here to each shine (or even glow) in their own way and Christian Matras has created a clever accompaniment to our peccadillo-strewn adventures that partnered with the sagely interventions of Walbrook add up to a thoroughly enjoyable ninety minutes from Max Ophuls that looks great, makes us smile - and probably rings at least a little true for all of us.