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    3. Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    Posted By: Someonelse
    Date: 19 Mar 2015 16:27:00
    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    Le plaisir (1952)
    DVD9 | ISO+MDS | NTSC 4:3 | Cover+Booklet | 01:37:59 | 7,96 Gb
    Audio: French AC3 1.0 @ 192 Kbps | Subtitles: English
    Genre: Comedy, Drama | The Criterion Collection #444

    Director: Max Ophüls
    Stars: Jean Gabin, Danielle Darrieux, Simone Simon

    Roving with his dazzlingly mobile camera around the decadent ballrooms, bucolic countryside retreats, urban bordellos, and painter’s studios of late nineteenth-century French life, Max Ophuls brings his astonishing visual dexterity and storytelling bravura to this triptych of tales by Guy de Maupassant about the limits of spiritual and physical pleasure. Featuring a stunning cast of French stars (including Danielle Darrieux, Jean Gabin, and Simone Simon), Le plaisir pinpoints the cruel ironies and happy compromises of life with a charming and sophisticated breeziness.

    IMDB | Criterion | DVDbeaver | Wikipedia | Slant Magazine


    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    It's hard to know where to begin singing the praises of Le Plaisir, one of the quartet of late masterpieces that capped the career of its brilliant and insightful director, Max Ophuls. To start with the absolute least of his achievements in Plaisir, Ophuls has created a superb anthology film, something which is notoriously hard to do. There's no worry about which of the stories in the film is best; even though the middle section is clearly the most important, both of the bookend pieces are excellent and, more importantly, are crucial to the development of the picture's themes. Adapting de Maupassant, Ophuls does so with a masterful understanding of how a literary work can be enhanced and transformed when rethought in cinematic terms, elevating and expanding rather than slavishly copying.

    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    The humanity, the sensitivity that Ophuls brings to the project lives side by side with the brutality and the melancholy that he also produces. And, of course, there's Ophuls' astoundingly inventive camera, including his trademark tracking shots, which are a marvel of grace, precision and drama. The final sequence also includes an incredible point-of-view shot that is still stunning even today, but even when his camera is still, Ophuls is working. One two and a half minute shot on board a train is static in terms of the camera, but not in terms of the deliberately and delicately choreographed movement of characters and set pieces within it. All of this would be so much smoke and mirrors, of course, were it not in the service of an engrossing story (or stories, as here), and Ophuls does not disappoint here either, creating a series of stories that paint a haunting picture not just of an era, but of the human soul. The cast is excellent, but Plaisir's extraordinary beauty is the work of its master director.
    Craig Butler, Rovi
    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    It has been rightly claimed that, between 1945 and 1955, Max Ophuls was the greatest director in the world, crafting a string of dense pearls unmatched before or since. Even 'Le Plaisir', supposedly a minor film in his canon would be a staggering masterpiece in anyone else's.

    A triptych of Guy de Maupassant stories, it is also about a trio of Gods. The first two are shown to be limited: Maupassant, author, creator, narrator, speaks to us from the darkness, disembodied, all pervasive ('I could be sitting next to you'), responsible for everything we see - in the last story he crashes down to earth, and is responsible for a suicide attempt; and Ophuls' camera, seemingly weightless, able to navigate space with a freedom unavailable to humans - even it is barred from Madame Tellier's Establishment, forced to peek in from outside. It can reveal the bleak reality behind the prostitutes' gaiety, but is has no access, like the men who exploit them, to their souls.

    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    Or does it? The stunning epiphany at the church, is, after all, on one level just a trick of the camera, or a mere figment of the women's imagination. As we would expect, the camerawork, composition, decor, music and acting are breathtaking and ambiguously nostalgic; what is more remarkable is the magic sense of nature, so rare in Ophuls, and, with the exception of the Archers, King Vidor and Lynne Ramsey, so rare in cinema.
    IMDB Reviewer
    Le plaisir (1952) [The Criterion Collection #444] [ReUp]

    Disc Features:
    - New, restored high-definition digital transfer
    - Introduction by filmmaker Todd Haynes (Far from Heaven)
    - English- and German-language versions of the opening narration
    - From Script to Screen, a video essay featuring film scholar Jean-Pierre Berthomé discussing the evolution of Max Ophuls’s screenplay for Le plaisir
    - Interviews with actor Daniel Gélin, assistant director Tony Aboyantz, and set decorator Robert Christidès
    - New and improved English subtitle translation
    - PLUS: A new essay by film critic Robin Wood

    All Credits goes to Original uploader.

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