Lola Montès (FRA / BRD 1955, Max Ophüls).
Credit: Cinémathèque française.
Photographs of the Eastmancolor camera negative and a faded print by Barbara Flueckiger.
Restoration:
Drössler, Stefan (2004): Lola Montez. In neuem Licht. In: Christine Rüffert (ed.): ZeitSprünge. Wie Filme Geschichte(n) erzählen. Berlin: Bertz, pp. 170–185, on p. 171 View Quote, on pp. 173–176 View Quote and on pp. 182–183. (in German) View Quote
Kreitl, Martin (2004): Filmrestaurierung. Die digitale Auferstehung der Lola Montez. In: Peter C. Slansky (ed.): Digitaler Film. Digitales Kino. Konstanz: UVK, pp. 355–362, on pp. 356–362. (in German) View Quote
Contemporary Reception:
Anonymous (1956): Lola Montez (Deutschland-Frankreich). In: Der Spiegel, n.p., 25.1.1956. Repr. in: Müller, Martina; Dütsch, Werner (2002): Lola Montez. Eine Filmgeschichte. Köln: Walther König, p. 257. (in German) View Quote
Anonymous (1969): Lola Montès. In: Anonymous: Lola Montès le chef d’œuvre de Max Ophuls sort de l’Enfer. In: L’Avant-scène. Cinéma, 88, pp. 105–109, on pp. 105–107. (in French) View Quote
Berghahn, Wilfried (1956): Die kalte Lola. In: Film 56, n.p., 3.3.1956. Repr. in: Müller, Martina; Dütsch, Werner (2002): Lola Montez. Eine Filmgeschichte. Köln: Walther König, pp. 261–263, on pp. 261–262. (in German) View Quote
Borgelt, Hans (1956): Lola Montez. In: Der neue Film, n.p., 19.1.1956. Repr. in: Müller, Martina; Dütsch, Werner (2002): Lola Montez. Eine Filmgeschichte. Köln: Walther König, pp. 256–257, on p. 256. (in German) View Quote
Moskowitz, Gene (1956): Noted on the bustling French Screen Scene, Gallic Features Click at Box Office. Directors and Work in Progress. In: The New York Times, Feb., p. 308. View Quote
Full text on The New York Times website. View Link
Niehoff, Karena (1956): Blick auf die Leinwand. Lola Montez. In: Tagesspiegel, n.p., 11.2.1956. Repr. in: Müller, Martina; Dütsch, Werner (2002): Lola Montez. Eine Filmgeschichte. Köln: Walther König, pp. 259–260, on p. 259. (in German) View Quote
Schaarwächter, Hans (1956): Max Ophüls wob Breitwandteppich. In: Der Mittag, n.p., 21.2.1956. Repr. in: Müller, Martina; Dütsch, Werner (2002): Lola Montez. Eine Filmgeschichte. Köln: Walther König, pp. 260–261. (in German) View Quote
Selected Analyses:
Amiel, Vincent (1992): Couleurs d’Ophuls. In: Yann Tobin: Dossier. La couleur du cinéma. In: Positif, 375–376, May, pp. 121–158, on pp. 138–139. (in French) View Quote
André, Emanuelle (1995): La couleur douloureuse. Max Ophuls. Lola Montès. In: Jacques Aumont (ed.): La Couleur en cinéma. Mailand: Mazzotta, pp. 120–122. (in French) View Quote
Beylie, Claude (1969): Lola du bûcher au pavois. In: Anonymous: Lola Montès le chef d’œuvre de Max Ophuls sort de l’Enfer. In: L’Avant-scène. Cinéma, 88, pp. 7–10, on p. 10. (in French) View Quote
Collin, Philippe (2000): D’une mise ein scène baroque (Lola Montès de Max Ophüls). In: Michel Minard (ed.): Baroque et cinéma. Paris: Lettres Modernes Minard, pp. 90–98, on pp. 93–94. (in French) View Quote
Drössler, Stefan (2004): Lola Montez. In neuem Licht. In: Christine Rüffert (ed.): ZeitSprünge. Wie Filme Geschichte(n) erzählen. Berlin: Bertz, pp. 170–185, on pp. 181–183. (in German) View Quote
Galt, Rosalind (2011): Pretty. Film and the Decorative Image. New York: Columbia University Press, on pp. 172–176. View Quote
Müller, Martina; Dütsch, Werner (2002): Lola Montez. Eine Filmgeschichte. Köln: Walther König, on pp. 62–63. (in German) View Quote
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the faded Eastmancolor positive by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.
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Lola Montès (FRA / BRD 1955, Max Ophüls). Credit: Cinémathèque française. Photographs of the Eastmancolor camera negative by Barbara Flueckiger.