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On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occasional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of censorship and poor relationships with producers, most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famously TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat about a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. His most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''Film/TheRecklessMoment'' starring Creator/JoanBennett is also considered a masterpiece.
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On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occasional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of censorship and poor relationships with producers, most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famously TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat about a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. His most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 1949 ''Film/TheRecklessMoment'' starring Creator/JoanBennett is also considered a masterpiece.
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* ''Caught'' (1949)
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* ''Caught'' ''Film/{{Caught}}'' (1949)
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* ''De Mayerling A Sarajevo" (1940)(a very fictionalized account of the romance and death of Archduke Franz Ferdinand and Countess Sophie Chotek; this was the last movie Ophuls made before he refugeed out to the U.S. after the fall of France, and the movie, as usually released, has a tacked-on wartime propaganda ending.)
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* ''Lola Montes'' (1955)
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* ''Lola Montes'' ''Film/LolaMontes'' (1955)
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* ''Le Plaisir'' (1952)
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* ''Le Plaisir'' ''Film/LePlaisir'' (1952)
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-> ''"A shot that does not call for tracks\\
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-> ''"A ''"I think I know the reason why\\
Producers tend to make him cry\\
They invariably demand\\
Some stationary set-ups, and\\
A shot that does not call for tracks\\
Producers tend to make him cry\\
They invariably demand\\
Some stationary set-ups, and\\
A shot that does not call for tracks\\
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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/max_ophuls.jpg]]
-> ''A shot that does not call for tracks''\\
''Is agony for poor old Max'',\\
''Who, separated from his dolly'',\\
''Is wrapped in deepest melancholy''.\\
''Once, when they took away his crane'',\\
''I thought he’d never smile again.''
->-- '''Creator/JamesMason''', poem composed for his director on the set of ''Film/TheRecklessMoment''.
-> ''A shot that does not call for tracks''\\
''Is agony for poor old Max'',\\
''Who, separated from his dolly'',\\
''Is wrapped in deepest melancholy''.\\
''Once, when they took away his crane'',\\
''I thought he’d never smile again.''
->-- '''Creator/JamesMason''', poem composed for his director on the set of ''Film/TheRecklessMoment''.
to:
->
''Is
Is agony for poor old
''Who,
Who, separated from his
''Is
Is wrapped in deepest
''I
I thought he’d never smile again.
->--
-->-- '''Creator/JamesMason''', poem composed for his director on the set of ''Film/TheRecklessMoment''.
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fixed typos and edited for clarity
Changed line(s) 11,18 (click to see context) from:
Born Maximillian Oppenheimer (6 May 1902 – 26 March 1957) in Saarbrücken, Germany to a family of Jewish textile managers. He would take the name Max Ophüls as a theatrical nom-de-plume. He was active in Germany's theatrical district specializing in productions of Arthur Schintzler, Goethe and other worthies of the German stage. He eventually found work in the Berlin Film Industry at UFA and found much renown for ''Liebelei'' (1933) an adaptation of a play by Schintzler which has many of his famous camera tricks and gimmicks.
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occassional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations with producers most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''Film/TheRecklessMoment'' starring Creator/JoanBennett is also considered a masterpiece.
Ophuls' famous style was already codified. His use of tracking shots, intricate camera movements choreographed and depicting complex movement of characters in spaces. His movies also featured women as protagonists and explored their viewpoint with sympathy and understanding greater than other film-makers of his time and place. Feeling stifled by Hollywood, Ophuls returned to France and ironically, it was his French films, and not his American films, that won him the great international fame that had eluded him for most of his peripatetic career. He made several films in France that were critically and commercially liked and moreover were influential internationally. He died in 1957 in the middle of a production of a {{Biopic}} on Amadeo Modigliani but he still amassed a reputation as one of the greatest film-makers in the world, loved by his contemporaries (Creator/PrestonSturges, Creator/VincenteMinnelli), the next generation (the UsefulNotes/FrenchNewWave) and cited by Creator/StanleyKubrick as his biggest influence. Indeed on hearing of his death, Kubrick who was in production of ''Film/PathsOfGlory'' ordered a minute of silence and moreover constantly provided many ShoutOut to Ophuls in his movies.
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is cinematographer Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic TrackingShot and TheOner, extending the possibilities of cinema as a visual medium.
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occassional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations with producers most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''Film/TheRecklessMoment'' starring Creator/JoanBennett is also considered a masterpiece.
Ophuls' famous style was already codified. His use of tracking shots, intricate camera movements choreographed and depicting complex movement of characters in spaces. His movies also featured women as protagonists and explored their viewpoint with sympathy and understanding greater than other film-makers of his time and place. Feeling stifled by Hollywood, Ophuls returned to France and ironically, it was his French films, and not his American films, that won him the great international fame that had eluded him for most of his peripatetic career. He made several films in France that were critically and commercially liked and moreover were influential internationally. He died in 1957 in the middle of a production of a {{Biopic}} on Amadeo Modigliani but he still amassed a reputation as one of the greatest film-makers in the world, loved by his contemporaries (Creator/PrestonSturges, Creator/VincenteMinnelli), the next generation (the UsefulNotes/FrenchNewWave) and cited by Creator/StanleyKubrick as his biggest influence. Indeed on hearing of his death, Kubrick who was in production of ''Film/PathsOfGlory'' ordered a minute of silence and moreover constantly provided many ShoutOut to Ophuls in his movies.
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is cinematographer Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic TrackingShot and TheOner, extending the possibilities of cinema as a visual medium.
to:
Born Maximillian Oppenheimer (6 May 1902 – 26 March 1957) in Saarbrücken, Germany to a family of Jewish textile managers. He would take the name Max Ophüls as a theatrical nom-de-plume. He was active in Germany's theatrical district specializing in productions of producing plays by Arthur Schintzler, Schnitzler, Goethe and other worthies of the German stage. He eventually found work in the Berlin Film Industry at UFA and found much renown for came to fame with ''Liebelei'' (1933) (1933), an adaptation of a play by Schintzler Schnitzler which has includes many of his Ophuls' famous camera tricks and gimmicks.
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, withoccassional occasional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations relationships with producers producers, most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous famously TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on about a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's His most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''Film/TheRecklessMoment'' starring Creator/JoanBennett is also considered a masterpiece.
Ophuls' famous style was already codified. His use of tracking shots, intricate camera movements choreographed and depicting complex movement of characters in spaces. His movies also featured women as protagonists and explored their viewpoint with sympathy and understanding greater than other film-makers of his time and place. Feeling stifled by Hollywood, Ophuls returned to France and ironically, it was his French films, and not his American films, that won him the great international fame that had eluded him for most of his peripatetic career. He made several films in France that were critically and commercially liked and moreover were influential internationally. He died in 1957 in the middle of a production of a {{Biopic}}on about Amadeo Modigliani but he still amassed a reputation as one of the greatest film-makers in the world, loved by his contemporaries (Creator/PrestonSturges, Creator/VincenteMinnelli), the next generation (the UsefulNotes/FrenchNewWave) and cited by Creator/StanleyKubrick as his biggest influence. Indeed on hearing of his death, Kubrick Kubrick, who was in production the middle of ''Film/PathsOfGlory'' making ''Film/PathsOfGlory'', ordered a minute of silence on set, and moreover constantly provided also included many ShoutOut {{Shout Out}}s to Ophuls in his movies.
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is cinematographer Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobaticTrackingShot {{Tracking Shot}}s and TheOner, extending the possibilities of cinema as a visual medium.
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with
Ophuls' famous style was already codified. His use of tracking shots, intricate camera movements choreographed and depicting complex movement of characters in spaces. His movies also featured women as protagonists and explored their viewpoint with sympathy and understanding greater than other film-makers of his time and place. Feeling stifled by Hollywood, Ophuls returned to France and ironically, it was his French films, and not his American films, that won him the great international fame that had eluded him for most of his peripatetic career. He made several films in France that were critically and commercially liked and moreover were influential internationally. He died in 1957 in the middle of a production of a {{Biopic}}
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is cinematographer Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic
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* ''Film/LaRonde'' (1950)
to:
* ''Film/LaRonde'' ''Theatre/LaRonde'' (1950)
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* ''Theatre/LaRonde'' (1950)
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* ''Theatre/LaRonde'' ''Film/LaRonde'' (1950)
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On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occassional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations with producers most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''The Reckless Moment'' starring Creator/JoanBennett is also considered a masterpiece.
to:
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occassional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations with producers most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''The Reckless Moment'' ''Film/TheRecklessMoment'' starring Creator/JoanBennett is also considered a masterpiece.
masterpiece.
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->-- '''Creator/JamesMason''', poem composed for his director on the set of ''The Reckless Moment''.
to:
->-- '''Creator/JamesMason''', poem composed for his director on the set of ''The Reckless Moment''.''Film/TheRecklessMoment''.
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* ''The Reckless Moment'' (1949)
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* ''The Reckless Moment'' ''Film/TheRecklessMoment'' (1949)
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Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic TrackingShot and TheOner, extending the possibilities of cinema as a visual medium.
to:
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is cinematographer Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic TrackingShot and TheOner, extending the possibilities of cinema as a visual medium.
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--> ''A shot that does not call for tracks''\\
to:
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-->-- '''Creator/JamesMason''', poem composed for his director on the set of ''The Reckless Moment''.
to:
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Added DiffLines:
[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/max_ophuls.jpg]]
--> ''A shot that does not call for tracks''\\
''Is agony for poor old Max'',\\
''Who, separated from his dolly'',\\
''Is wrapped in deepest melancholy''.\\
''Once, when they took away his crane'',\\
''I thought he’d never smile again.''
-->-- '''Creator/JamesMason''', poem composed for his director on the set of ''The Reckless Moment''.
Born Maximillian Oppenheimer (6 May 1902 – 26 March 1957) in Saarbrücken, Germany to a family of Jewish textile managers. He would take the name Max Ophüls as a theatrical nom-de-plume. He was active in Germany's theatrical district specializing in productions of Arthur Schintzler, Goethe and other worthies of the German stage. He eventually found work in the Berlin Film Industry at UFA and found much renown for ''Liebelei'' (1933) an adaptation of a play by Schintzler which has many of his famous camera tricks and gimmicks.
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occassional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations with producers most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''The Reckless Moment'' starring Creator/JoanBennett is also considered a masterpiece.
Ophuls' famous style was already codified. His use of tracking shots, intricate camera movements choreographed and depicting complex movement of characters in spaces. His movies also featured women as protagonists and explored their viewpoint with sympathy and understanding greater than other film-makers of his time and place. Feeling stifled by Hollywood, Ophuls returned to France and ironically, it was his French films, and not his American films, that won him the great international fame that had eluded him for most of his peripatetic career. He made several films in France that were critically and commercially liked and moreover were influential internationally. He died in 1957 in the middle of a production of a {{Biopic}} on Amadeo Modigliani but he still amassed a reputation as one of the greatest film-makers in the world, loved by his contemporaries (Creator/PrestonSturges, Creator/VincenteMinnelli), the next generation (the UsefulNotes/FrenchNewWave) and cited by Creator/StanleyKubrick as his biggest influence. Indeed on hearing of his death, Kubrick who was in production of ''Film/PathsOfGlory'' ordered a minute of silence and moreover constantly provided many ShoutOut to Ophuls in his movies.
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic TrackingShot and TheOner, extending the possibilities of cinema as a visual medium.
!! Selected Filmography
* ''Liebelei'' (1933)
* ''La Signora di Tutti'' (1934)
* ''The Comedy of Gold'' (1936)
* ''Vendetta'' (1946, co-director, produced by Creator/HowardHughes)
* ''The Exile'' (1947)
* ''Film/LetterFromAnUnknownWoman'' (1948)
* ''Caught'' (1949)
* ''The Reckless Moment'' (1949)
* ''Theatre/LaRonde'' (1950)
* ''Le Plaisir'' (1952)
* ''Film/TheEarringsOfMadameDe'' (1953)
* ''Lola Montes'' (1955)
--> ''A shot that does not call for tracks''\\
''Is agony for poor old Max'',\\
''Who, separated from his dolly'',\\
''Is wrapped in deepest melancholy''.\\
''Once, when they took away his crane'',\\
''I thought he’d never smile again.''
-->-- '''Creator/JamesMason''', poem composed for his director on the set of ''The Reckless Moment''.
Born Maximillian Oppenheimer (6 May 1902 – 26 March 1957) in Saarbrücken, Germany to a family of Jewish textile managers. He would take the name Max Ophüls as a theatrical nom-de-plume. He was active in Germany's theatrical district specializing in productions of Arthur Schintzler, Goethe and other worthies of the German stage. He eventually found work in the Berlin Film Industry at UFA and found much renown for ''Liebelei'' (1933) an adaptation of a play by Schintzler which has many of his famous camera tricks and gimmicks.
On account of his Jewish origin, Ophuls had to flee Germany alongside his family in 1933 when the Nazis came to power. He arrived in France, and for the remainder of TheThirties he made films in France, with occassional forays into the film industry of Italy (''La signora di tutti'') and Holland (''The Comedy of Gold''), before coming to America in TheForties. His time in America was difficult on account of the censorship and poor relations with producers most notably Creator/HowardHughes who fired him from ''Vendetta'' leading to a famous TroubledProduction. Ophuls got his revenge with his 1948 FilmNoir ''Caught'' which was a TakeThat on a Hughes-esque tycoon called [[PunnyName Smith Ohlrig]]. He's most famous film in the English language is ''Film/LetterFromAnUnknownWoman'' starring Creator/JoanFontaine, while the 1951 ''The Reckless Moment'' starring Creator/JoanBennett is also considered a masterpiece.
Ophuls' famous style was already codified. His use of tracking shots, intricate camera movements choreographed and depicting complex movement of characters in spaces. His movies also featured women as protagonists and explored their viewpoint with sympathy and understanding greater than other film-makers of his time and place. Feeling stifled by Hollywood, Ophuls returned to France and ironically, it was his French films, and not his American films, that won him the great international fame that had eluded him for most of his peripatetic career. He made several films in France that were critically and commercially liked and moreover were influential internationally. He died in 1957 in the middle of a production of a {{Biopic}} on Amadeo Modigliani but he still amassed a reputation as one of the greatest film-makers in the world, loved by his contemporaries (Creator/PrestonSturges, Creator/VincenteMinnelli), the next generation (the UsefulNotes/FrenchNewWave) and cited by Creator/StanleyKubrick as his biggest influence. Indeed on hearing of his death, Kubrick who was in production of ''Film/PathsOfGlory'' ordered a minute of silence and moreover constantly provided many ShoutOut to Ophuls in his movies.
Max Ophuls' son Marcel Ophuls would become a notable film-maker in his own right as the director of documentaries such as ''Film/TheSorrowAndThePity''. One of Ophuls' nephews is Michael Ballhaus who cited a childhood visit to the set of ''Lola Montes'' as inspiration for his career as director. Ballhaus would subsequently work with Creator/RainerWernerFassbinder and Creator/MartinScorsese and continue the family tradition of intricate and acrobatic TrackingShot and TheOner, extending the possibilities of cinema as a visual medium.
!! Selected Filmography
* ''Liebelei'' (1933)
* ''La Signora di Tutti'' (1934)
* ''The Comedy of Gold'' (1936)
* ''Vendetta'' (1946, co-director, produced by Creator/HowardHughes)
* ''The Exile'' (1947)
* ''Film/LetterFromAnUnknownWoman'' (1948)
* ''Caught'' (1949)
* ''The Reckless Moment'' (1949)
* ''Theatre/LaRonde'' (1950)
* ''Le Plaisir'' (1952)
* ''Film/TheEarringsOfMadameDe'' (1953)
* ''Lola Montes'' (1955)
