As one of the true cosmopolitan film directors of the twentieth century, Max Ophüls (1902-1957) experienced professional triumph in his native Germany, the United States, and France. He also work...
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In the following essay, Meilgaard and Burdick examine Ophuls's cinematic adaptation of Guy de Maupassant's "Le Maison Teller" for his Le Plaisir.
In his monograph on Guy...
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In the following essay, originally published in 1986, Williams examines Ophuls's cinematic adaptation of Arthur Schnitzler's Liebelei.
The work of Arthur Schnitzler was important to M...
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In the following essay, Doane identifies Ophuls's distrust of modern technology, and places him beside director George Cukor as a filmmaker successful at depicting female issues in film.
The...
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In the following essay, Alter discusses the difficulties of adapting Arthur Schnitzler's play Der Reigen into Ophuls 's film La Ronde.
Arthur Schnitzler, a Viennese contemporary of wr...
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In the following essay, Sarris announces the importance of Ophuls to world cinema as an introduction to an autobiographical essay by Ophuls.
"Je n'ai pas la prétention d'...
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In the following essay, Sarris defends Ophuls's stature as a major filmmaker of the twentieth century.
One problem with culturally ambitious film criticism is its straining for analogies bet...
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In the following essay, Harcourt examines his favorite film, Ophuls's Madame de . . . .
What is my favorite movie? Difficult though it may be to answer such a question, I find it easier than...
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In the following essay, Johnson examines Ophuls's Le Plaisir from a feminist perspective.
The notion of voyeurism, long fruitful for film scholars, has in recent years been taken up by femin...
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Max Ophüls
Critical Essay by Manon Meilgaard and Dolores Burdick
