pleasure

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Movie
German title pleasure
Original title Le Plaisir
Country of production France
original language French
Publishing year 1952
length 100 minutes
Age rating FSK 18
FSK 6 (re-examination 2011)
Rod
Director Max Ophüls
script Jacques Natanson ,
Max Ophuls
production Max Ophüls
music Joe Hajos , Maurice Yvain , motifs by Jacques Offenbach
camera Christian Matras , Philippe Agostini
cut Léonide Azar
occupation

Pläsier is a French anthology of films or an episode film based on three short stories by Guy de Maupassant , directed by Max Ophüls in 1952. As one of the lesser-known works by Ophüls, the black and white film captivates with its splendid equipment, but above all with its extremely flexible, artful camera work that is typical of it .

action

After long but entertaining minutes of the black canvas with the author's explanations, it opens around 1890 :

"The mask"

In the Cabaret Glysse- Montmartre , a somewhat strange-looking monsieur collapses in a turbulent ball on the dance floor amidst young women. A doctor finds an old man under a mask near a heart attack. He supports him on the way to his home in the poor district, and his wife shares her worries with the doctor about his fondness for lavish parties and his youthful mania, while the doctor lies completely exhausted in bed just a few meters away, puffing on the ceiling.

"The Tellier House"

Madame Tellier, owner and operator of a popular brothel in Le Havre is, with its very pretty constricted invited girls first communion of a niece in the country. On this day of the company outing, the doors of the inn remain closed. A group of decent, respectable gentlemen from the city have to come to terms with the unfamiliar situation and the entourage uses the time for a walk to the misty harbor, where they finally sit down on a bench and watch the waves play. Quarrel soon breaks out between the gentlemen over trifles that are hardly worth mentioning. The exuberant staff of the establishment takes the train to the country and is picked up at the station by Monsieur Rivet, Madame Tellier's cousin. The village or at least its bachelors are understandably almost upside down. But the ladies cannot sleep at night because it is so quiet in the country. During mass the following morning, the women burst into tears as the memories of their time as innocent girls and their own communion awakened by the solemn ceremony overwhelm them. After all, the entire congregation gathered in the church is deeply moved, without really knowing why. Then Monsieur Rivet brings the women back to the station. In the meantime he has fallen a little in love with Mademoiselle Rosa. Before the train leaves, Rivet tells Rosa that he will visit the Tellier house. He walks alongside the train until it has started, waves again and Rosa waves back from the window of her compartment. Rivet goes home through the sunlit and idyllic landscape, with a flower on his Sunday hat.

"The model"

For some time now, the young painter Jean has lacked inspiration - and money. When he met and fell in love with the beautiful Josephine , his pictures again hit the market. The crush will soon pass and reality will catch up with the couple. His muse proves to be a Xanthippe , from then on domestic violence dominated the studio and the living room. After the final separation, Josephine believes she has no other way out than throwing herself out of the window, but she survives. Years later we see Jean and the paralyzed Josephine in a wheelchair on the cloud-covered beach as a married couple. The two seem anything but happy .

Reviews

  • “Filmed with delicacy and the highest precision. An entertaining study of the French poet's concept of 'Pläsier', translated into a finely chiseled language of gestures, movements, hints and precise dialogues; fabulously played, perfectly staged. "( Lexicon of International Films , 2002)
  • “'[…] The film [is] a safe enjoyment only for adults with a solid mind and character,' wrote the musty, uptight Protestant film observer .” ( Jens Golombek : Das Große Film-Lexikon. All top films from A – Z , 1995)
  • “Sounds better than it is; the stories enable Ophüls to present his virtuosity , but two of the three turn out to be too thin and trite. ”( Pauline Kael )
  • "Quite brutal [...] 'Possession is always followed by the abhorrence of getting used to' - Peter Coyote could have said in Polanski's Bitter Moon , but here it is Jean Servais." ( Fernando F. Croce : Slant)
  • "Ophüls made four films in the early 1950s, and all four - 'La Ronde', 'Le Plaisir' (1952), 'Madame de ...', and 'Lola Montès' (1955) - have become achievements of genius." ( Anthony Lane : Master of Ceremonies - The films of Max Ophuls in The New Yorker )

Awards

Academy Awards 1955

  • Nomination for Max Ophüls in the category 'Best Art Direction-Set Decoration, Black-and-White'

background

The world premiere took place on February 14, 1952. The day of the first performance in the Federal Republic of Germany was November 4, 1952. In English Sir Peter Ustinov was the narrator, in the original Jean Servais . The middle episode spans about 70 of the 100 minutes.

When it first appeared in the United States, episodes two and three were reversed in favor of a more conventional structure.

In particular, the opening sequence of “Die Maske” has received widespread recognition in the professional world for its technical implementation.

Web links

Individual evidence

  1. ↑ a b c d Pläsier. In: Lexicon of International Films . Film service , accessed April 17, 2017 .Template: LdiF / Maintenance / Access used 
  2. ↑ Release certificate for Pläsier . Voluntary self-regulation of the film industry , December 2011 (PDF; test number: 43 05V V).
  3. ^ A b Bosley Crowther : Le Plaisir (1952). In: The New York Times . May 20, 1954, accessed June 4, 2008 .
  4. ↑ a b Croce, see web links.
  5. ^ Lutz Bacher: Max Ophuls's Adaptation to and Subversion of Classical Hollywood Cinema and Their Effect on his European Filmmaking. In: Undercurrent # 3 (11.2006). FIPRESCI , November 2006, archived from the original on May 29, 2014 ; accessed on October 13, 2018 (English).
  6. ↑ Jens Golombek in: Dirk Manthey, Jörg Altendorf, Willy Loderhose (Hrsg.): Das große Film-Lexikon. All top films from A-Z . Second edition, revised and expanded new edition. Verlagsgruppe Milchstraße, Hamburg 1995, ISBN 3-89324-126-4 , p. 2190 .
  7. ^ Pauline Kael : Le Plaisir. Retrieved June 4, 2008 : “sounds better than it is; the stories allow Ophüls to display his virtuoso technique, but two of the three turn out too thin and hokey. "
  8. ↑ Croce, see web links: "nothing short of brutal [...]" Possession is always followed by the disgust of familiarity "- it could be Peter Coyote talking in Polanski's Bitter Moon, only it's Jean Servais".
  9. ^ Anthony Lane : Master of Ceremonies - The films of Max Ophuls. In: The New Yorker . July 8, 2002, accessed on June 5, 2008 (English): “[…] Ophuls did make four films in the early nineteen-fifties, and all four - 'La Ronde,' 'Le Plaisir' (1952), 'Madame de…, 'and' Lola Montès' (1955) - happen to be accomplishments of genius. "
  10. ↑ Jeffrey M. Anderson: Le Plaisir (1952). In: Combustible Celluloid. October 24, 1999, accessed June 5, 2008 .
  11. ↑ Kehr, see web links.