I respect the hell out of Ben Wheatley for his drive to make new film. A good 90% of what he’s done, for better or worse, is actual original cinema — not an adaptation of a beloved novel, not a bastardization of a classic film, not a superhero flick that takes bits and pieces from comic books and cobbles them together into a weak installment of some neverending box-office-driven franchise. A Field in England and Sightseers are sort of the pinnacle of this criteria for Wheatley, with Field as a particular achievement — weird as hell, quite unlike anything you’ve seen to date, but importantly a cohesive experience that you can mine for deeper meaning and rewatch ad nauseam without feeling like you’ve exhausted it. Field does more with five or six actors and a muddy pasture than most movies do with $250 million, and so the prospect of Wheatley returning to ragtag roots with his latest film In the Earth was a promising one.
This is largely due to his most recent efforts: a workmanlike remake of Hitchcock’s Rebecca this past year, in which Armie Hammer wore the same yellow suit in like nine different scenes; High-Rise in 2016, an ultimately joyless adaptation of J.G. Ballard’s novel; and Free Fire, an original movie which zips along on first watch and positively drags on subsequent viewings. If each of these films was successively bigger — in budget terms, but also in scope — they also felt less and less like the scrappy Wheatley who made A Field in England in 12 days on just £300,000.
Continue reading In the Earth (2021)
The Earrings of Madame de… is the English-language title for Madame de…, as it was released in France, which heralds the heart-shaped diamond jewelry — not its owner — as the star of the film. The earrings do indeed play a major role, significantly altering the lives of those who possess them, seemingly propelled by their own willpower from one owner to another and back again. With a pinch more malice this would be The Lord of the (Ear)rings, a fantasy tale about tempting jewelry that instills a deadly pride in those who dare purport to wield such power. But the passionately humanist Max Ophüls ensures that this is always really the story of Madame de…, not simply of her diamonds, and the themes of pride and ownership don’t necessarily involve the earrings at all.
That sleight-of-hand is one of the many reasons Madame de… stands as the most highly-praised work by Ophüls, whose career as a filmmaker was constantly capsized by the onset of World War II. A German-born Jew, Ophüls fled and became a French citizen in 1938, only to have to flee further to the U.S. There he failed to break into Hollywood until an admirer of his work recommended him to Howard Hughes; it helped that the admirer was none other than Preston Sturges. Ophüls directed five Hollywood productions before returning to Europe in 1950, where a new stage of his filmmaking career blossomed. Each of his final films — La ronde (1950), Le plaisir (1952), Madame de… and Lola Montes (1955) — is a masterful achievement in its own right, championed thereafter by the likes of Samuel Fuller, Stanley Kubrick and Paul Thomas Anderson.
Continue reading The Earrings of Madame de… (1953)