On Monday, January 23, Turner Classic Movies is showing all four films made by Max Ophuls, the great German director, during his brief tenure in America (when he dropped the “h” and signed his films “Max Opuls”).
The evening of “Max Ophuls in Hollywood” is followed by two of his greatest French films, La Ronde (1950) and The Earrings of Madame de… (1954), but while they are well represented in superb DVD editions stateside, the four American films showing Monday night—Letter From an Unknown Woman (1948), The Reckless Moment (1949), Caught (1949) and the rarity The Exile (1947), his Hollywood debut—have still not been released on DVD in the U.S.
The films of Ophuls haunt the space between the idealism of unconditional love and the reality of social barriers and fickle lovers. Yet his greatest films are anything but cynical; ironic certainly, but also melancholy, sad and wistful, and always respectful of the dignity of those who love well if not too wisely. His fluid, elegantly choreographed camerawork and intimate yet observant directorial presence have resulted in some of the most delicate and beautiful films made on either side of the Atlantic, but his American films have never been as celebrated as his more overtly stylized and seductively romantic French films (Ophuls left Germany in the early 1930s for the same reason so many fellow artists did).
Douglas Fairbanks Jr. stars in The Exile, a lightweight adventure film that looks to Fairbanks Sr. for inspiration. The film, about a king in exile, lacks the showstopping stunts and show-off acrobatics of Sr.’s silent classics, but the old fashioned love story and simplicity of adventure is pleasantly retro. Even for 1948. Fairbanks does his best impression of his father ever, with a tiny mustache and a big smile and a leaping energy, even going as far as writing the scenario and producing the independent feature. And while Ophuls is no action director, he has nothing to apologize for in this rousing little film. His camera glides through some lovely scenes and while Fairbanks lunges and leaps, Ophuls choreographs the crowd scenes to give the film a scope the belies the budget and a grace lacking in most such adventure films.