Ophüls

(redirected from Max Ophuls)

Ophüls

(ˈɔːfəls; German ˈɔphyls)
n
(Biography) Max (maks). 1902–57, German film director, whose films include Liebelei (1932), La Signora di tutti (1934), La Ronde (1950), Le Plaisir (1952), and Lola Montes (1955)
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
Mentioned in ?
References in periodicals archive ?
Paul Schrader, Max Ophuls, Bong Joon-ho and Philippe Garrel and has collaborated on a range of DVD extras and booklets.
With echoes of "Rebecca" and lavish Max Ophuls productions, writer and director Paul Thomas Anderson spins the tale of an obsessive fashion designer and his muse into a suspenseful and often funny parlor drama with all the trimmings in "Phantom Thread ."
De Mille, Ernst Lubitsch, Howard Hawks, Alfred Hitchcock, John Ford, Fritz Lang, Max Ophuls, Douglas Sirk, Raoul Walsh, Jacques Tourneur, Josef von Sternberg, Orson Welles, Nicholas Ray, Samuel Fuller, and Jerry Lewis; the origins and development of auteur cinephilia and examples of films capturing sublime moments; and the changing nature of Hollywood and the auteur from the late 1970s, with the rise of directors like George Lucas and Steven Spielberg.
At the time of CineAction's inception, the author was dead (an editor of Jump Cut commented on my submission of Max Ophuls' Caught, whether I was seriously suggesting that Ophuls intended the lucid critique of women's oppression dramatized in the film) and semiotics didn't always allow for a film's nuance, complexity or ambiguity in its theoretical grid.
At 15, she premiered her first play in Berlin, "Ariel 15." Shortly afterward she wrote and directed a short film of disaffected teenage angst, "Torpedo" (2008), which won the Max Ophuls Prize and was distributed theatrically.
The Max Ophuls film of Zweig's Letter from an Unknown Woman is one of the great triumphs of sentimental 1940s period piece production design, just as Budapest is the greatest expression of Anderson's love of ornate buildings, old money, older furniture, tiny models and modish, saturated colours.
The social networks of Charles Dickens's Bleak House (1852-53) (10) and Max Ophuls's 1950 film La Ronde (11) mirror, more or less, the social networks we have in our own lives.
As film theory and film criticism have changed over the years, so has opinion of Max Ophuls and his films.