Admission: (cash or check only):
- General: $8
- Students w/id: $5
Parking is available on Reservoir Road and across the street at Georgetown University Hospital’s pay lot.
France/Germany — 1955 — 110 min. — 35mm
Directed by Max Ophüls
Cast: Martine Carol, Peter Ustinov, Anton Walbrook
In French with English subtitles
The story of Lola Montès:
Lola Montès (1955) is an historical film and the last film directed by Max Ophüls before his death from a heart attack in March 1957. The film tells the tragic story of Lola Montès, a great adventurer who becomes the main attraction of a circus after being the lover of various important European men like Franz Liszt and Ludwig I of Bavaria.
As originally shown in France in 1955, the audience sees the events of Lola Montès' life through the use of flashbacks. Use of the technique was criticized upon its release and the movie did poorly at the box office. In response, the producers re-cut the film and shortened it in favor of a more chronological storyline, against the director's wishes. The film has been defended by la Nouvelle Vague (the New Wave) and considered for a long time like a cursed masterpiece until the restored version in 2008.
According to Roger Ebert, a "savagely butchered version was in circulation for a few years" following Ophuls' death. The film critic Andrew Sarris and others eventually showed improved versions, progressively closer to the original, at the New York Film Festival in 1963 and 1968. Certain elements remained missing and were believed lost, but the recent discovery of the lost footage allowed a new version to be edited according to Ophül's original intentions. It was shown at the New York Film Festival in the restored version on Sept. 26 – Oct. 12, 2008.
Lola Montès was re-released by Rialto Pictures in November 2008 with the full Cinemascope aspect ratio restored and with five minutes of additional footage never before shown in any U.S. release.
"A magnificient restoration! Evokes the evanescence of beauty, fame and glamour!" — Stephen Holden, The New York Times
"A masterpiece! Gorgeously stylized and magnificiently mysterious!" — New York Magazine