Much of Max Ophüls's life was spent dealing with a series of adverse experiences: being a Jew in Nazi Germany, forced eviction from two countries, unemployment in America, innumerable terminated projects, limited distribution of his pictures, and lack of critical appreciation in his lifetime. However, Ophüls persevered and drew strength from this adversity. In his 25 years of filmmaking he completed 22 films, at least a third of which are now considered masterpieces, and Ophüls has finally been recognized as one of the great directors.
Following an unsuccessful career as a stage actor, Ophüls began directing plays in 1923 and directed his first film in 1930. Four more films followed in the next two years, of which LIEBELEI (1932) is the most notable. Ophüls left Nazi Germany for Paris in 1933 and became a French citizen five years later. Between 1933 and 1940 he directed 10 feature-length films in France, Italy and Holland. LA SIGNORA DI TUTTI (1934) is the most notable of these.
With the fall of France in 1940, Ophüls and his family fled to Switzerland. A dispute with the Swiss government over his status in France resulted in termination of a film project and his expulsion from Switzerland. He eventually arrived in Hollywood in 1941.
He was unemployed until 1946, when Preston Sturges, impressed by LIEBELEI, arranged for him to direct VENDETTA for RKO. However, disagreements with Sturges caused Ophüls's early removal. He then directed four more films in America for different studios: THE EXILE (1947) and his American masterpieces: LETTER FROM AN UNKNOWN WOMAN (1948), and the two films noirs, CAUGHT (1949) and THE RECKLESS MOMENT (1949).
He then returned to France and directed four more films: LA RONDE (1950), LE PLAISIR (1951), THE EARRINGS OF MADAME DE... (1953), and LOLA MONTÉS (1955). He died of a heart attack at the age of 54 in Hamburg.
His reputation rests on both his choice of subject matter and its presentation. Most of his pictures take place in fin-de-siècle Vienna. Against this historical and cultural background, Ophüls focused on women in love. However, this love is neither sweet nor romantic but fraught with unhappiness, obsession, betrayal, male mistreatment and exploitation, misfortune and tragedy. All of this unfolds in an environment of opulent and luxurious décor: palatial buildings containing ornate furnishings, chandeliers, staircases and mirrors. (Even his three American films have the same feel as his European work: LETTER FROM AN UNKNOWN WOMAN has the same setting, while CAUGHT and THE RECKLESS MOMENT are contemporary treatments of the same themes set in America.)
Technically, an Ophüls film is characterized by complex and dramatic camera work which emphasizes fluidity and motion and is accomplished by masterful use of framing, lighting, tilts, tracking shots, crane shots and pan shots. The effect of this fusion of content and style is to produce an intensely personal and emotional encounter which transports the viewer to a timeless world in which basic human experiences, feelings, emotions and states of mind are compellingly presented.
His son (b. 1927) is documentary filmmaker Marcel Ophüls.
Nominated for Writing (Screenplay) 1951: LA RONDE (w. Jacques Natanson)
Nominated for Art Direction/Set Decoration (Black & White) 1954: LE PLAISIR - Art Direction
2 nominations