Lola Montès (The Fall of Lola Montes) (The Sins of Lola Montes)
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Lola Montès (The Fall of Lola Montes) (The Sins of Lola Montes)
Max Ophuls' final film (and his only movie in color) is a cinematic tour-de-force masquerading as a biography, in this case a dazzling fictionalized life of the notorious 19th century dancer, actress, and courtesan. A still beautiful, but weary and disillusioned (and, as we later discover, ailing) Lola Montes (Martine Carol) is first seen as the featured attraction at a seedy American circus, appearing at the center of a series of various tableaux depicting the scandalous events for which she is known. With a strangely sincere yet sinister and manipulative ringmaster (Peter Ustinov)… More
Rotten Tomatoes Score: 87%

Critic Reviews from Rotten Tomatoes

"This exacting and sumptuous restoration of Max Ophüls's last film, from 1955, recovers not just the movie's look but also its meaning."
‑ Richard Brody, New Yorker
"Seen on a big screen, this is a movie to get drunk on."
‑ Ty Burr, Boston Globe
""...lingers as a sensational fever dream.""
‑ Josh Larsen, LarsenOnFilm
"Ophuls... contrasts the outrageous sensationalism of her reputation... with offstage moments of tender candor and poignant, poetic flashbacks"
‑ Sean Axmaker,
"A bodice-ripper invested with the profundity of a Stendhal novel, Lola Montes is also, even more than La Ronde, Ophüls's definite commentary on movie-watching."
‑ Fernando F. Croce, Slant Magazine
"Watch Lola Montes and you may never watch a movie the same way again."
‑ John Anderson, Washington Post
"Max Ophüls' 1955 masterpiece gets a superb restoration."
‑ Kevin Thomas, Los Angeles Times
"The net result is pure Ophuls, his signature recognizable in nearly every scene and, despite its very poor initial reception, one hell of a movie."
‑ Christopher Long, Movie Metropolis
"With all due respect to film critic Andrew Sarris, Max Ophüls' legendary Lola Montès is not 'the greatest film ever made.'"
‑ Ken Hanke, Mountain Xpress (Asheville, NC)
"One of the most beautiful films ever made."
‑ Michael E. Grost, Classic Film and Television
"Lola Montes is mainly a triumph of vibrancy and metaphor. Nonetheless it's quite an experience."
‑ Michael Phillips, Chicago Tribune
"In some odd way, the huge production scale and marvelous widescreen color scheme make Lola Montès seem more distant and artificial than Ophüls' smaller-scale black-and-white films."
‑ Andrew O'Hehir,
"as Lola, Martine Carol should compel our attention, but instead merely toys with it"
‑ James Kendrick, Q Network Film Desk
"Ophüls' style co-stars, paralleling and reinforcing stage artificiality with tracking and crane and pan shots, fluidly tilting to emphasize romance as opposed to "reality.""
‑ Donald J. Levit, ReelTalk Movie Reviews
"The idea behind this biopic might be brilliant but I didn't see the film's magic onscreen."
‑ Dennis Schwartz, Ozus' World Movie Reviews