Lola Montès

1955
Not Rated
1h 56min

CALIFICACIÓN DE IMDb

7.2/10

6.2 k

TU CALIFICACIÓN

Trailer for the Criterion Collection release

Reproducir trailer2:24

1 video

32 fotos

Epic Political Drama Romantic Epic Tragic Romance Biography Drama Romance

Una dramatización de la vida de la bailarina irlandesa Lola Montez y de algunos de sus romances más escandalosos.Una dramatización de la vida de la bailarina irlandesa Lola Montez y de algunos de sus romances más escandalosos.Una dramatización de la vida de la bailarina irlandesa Lola Montez y de algunos de sus romances más escandalosos.

Ver la información de producción en IMDbPro

CALIFICACIÓN DE IMDb

7.2/10

6.2 k

TU CALIFICACIÓN

Ver la información de producción en IMDbPro

Premios
- 1 nominación en total

Trivia
Director Max Ophüls' final movie, and his only movie in color.

Errores
When the Circus Master first tries to recruit Lola, he lists San Francisco as an important North American city, and includes Buffalo Bill in a list of major circus figures. This scene is set shortly before Montez left for Bavaria, so it must be late 1845 or early 1846. San Francisco was called Yerba Buena until 1847, and the name Buffalo Bill was first applied in the 1860s to Buffalo Bill Cody, who was born in 1846.

Citas
Lola Montes: When a man is attractive, and you are terribly attractive, it's easy to yield, to hold on, to go almost too far. Now we are embarrassed by all those follies. We are starting to watch each other. We are trying to find each other again, to recognize ourselves, and our answers become questions.

Versiones alternativas
The film was shot in three language versions: German, French and English. There was a fourth version, silent, used as a working copy; this was eventually found at the Luxembourg Cinematheque.

Conexiones
Edited into Histoire(s) du cinéma: Fatale beauté (1994)

Opiniones de usuarios38

Opinión

Opinión destacada

7/10

phew!

Max Ophuls' final film, which I viewed in its restored German version, is quite the visual onslaught in widescreen - the extravagant framing device depicting the historic bed-hopper as a circus 'freak' among many, many acrobats and jugglers is the work of someone slaving feverishly to dazzle us. The distanced spectacle sucks us in, and it all looks great, but the toil of the film-making efforts end up deflecting attention from Lola herself - maybe Martine Carol isn't up for the job like everyone says, but more importantly all that metaphor stuff seems to crowd out time she could use to draw us in. The dalliance in the palace through the third act supplies Ophuls' requisite plot disfigurement - everything I've seen except Madame De... has SOME kind of unsatisfying ding in the arc. And the 'sumptuous' color compositions - which are pretty overwhelming in and of themselves, especially when the restoration is working from top sources - seem to limit the opportunities for the big Ophuls Camera Swoops that usually lively things up.