http://www.imdb.com/title/tt0045034Synopsis:Three stories about the pleasure. The first one is about a man hiding his age behind a mask to keep going to balls and fancying women - pleasure and youth. Then comes the long tale of Mme Tellier taking her girls (whores) to the country for attending her niece's communion - pleasure and purity. And lastly, Jean the painter falling in love with his model - pleasure and death.
Review:Adapted from three short stories by Guy de Maupassant, the favourite author of French language teachers, Le Plaisir (The Pleasure) sees Max Ophuls at his beguiling best. An old man poses as a youth behind a mask, a Madame and her girls take to the country to attend her niece’s first holy communion, and an artist, having abandoned his lover, agrees to marry her after a suicide attempt leaves her crippled. These are, says the narrator from the darkness of the opening frame, ‘old tales for your modern times’. This immediately distances the viewer and throughout Ophuls, reminds us of the artifice of his creation, integrating physical frames into his extraordinary baroque sets. Particular attention should be paid to how the frivolity of church’s interior is continuous with the outfits of the prostitutes. Though Ophuls never judges, this heightened theatrical reality strongly enhances the didactic element of these moral tales.
At the close of the first story, a middle-aged doctor thanks the masked man’s wife for ‘a precious lesson’. She, he sees, has dedicated her life to looking after the foolish man she loves, coming to accept his need to chase younger women as the tragic plight of the handsome man who has lost his looks and vitality to old age. In the central story, as the altar bell rings, one of the prostitutes is moved by the simplicities of country life and the innocence of the children. Her tears prove infectious and soon the whole church is quietly sobbing, moved by the mysteries of life and its losses. In the final story, as the now aging artist pushes his wife in her wheelchair, we are told that he has achieved everything he could wish for: ‘happiness is not a joyful thing’.
Watching Le Plaisir, however, is a joy. Ophuls’ shots are breath-quickeningly long. Flowing with supreme elegance, they weave through interior and exterior spaces, painting complex narratives; so subtly integrated are the words of the narrator that it is impossible to imagine these two strands in the telling of the story evolving separately.
Each tale begins with an exceptionally crafted sequence. The dazzling opening at the ball crams humour, folly, and tragedy into its dizzyingly complex movement; in a classic shot, the brothel is introduced as a haven of tranquillity and good order, the camera following Madame from the exterior as she moves through the interior closing shutters and putting out candles; and, finally, in a delightful scene of brilliant economy, the artist spots the model, follows her up stairs, and in the time it takes the camera to pan around to meet the couple coming down stairs on the opposite side, they have established their love. When next she ascends stairs, it will be to leap from the window, the camera taking her view all the way to the awning, several storeys below, which breaks her fall. In each case, the story and the architecture are harmonised in a perfect formal artistry. Consequently, Le Plaisir’s quaintness should not be mistaken for naïvety, for Ophuls gives continuous and deliberate aesthetic pleasure. It’s easy to see why the wunderkinds of the 1960s held him in such awe.
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