BU Film School

Wednesday, August 10, 2005

FT 540 Reading: La Ronde

Screenplay info
Written by: Max Ophüls and Jacques Natanson (based on Arthur Schnitzler's play Reigen)
Film info: http://us.imdb.com/Title?0042906

The Leader appears, and introduces the story. A girl tries to start off, but he stops her and redirects her toward a soldier. She offers herself for free, so he agrees. They find spot by the docks. Ends when Leader, posing as soldier, blows summons on bugle.

Soldier/chambermaid -- meet at dance, walk in park. Sit on bench, she tries to get him to promise to be good (to no avail). Afterwards he's aloof, goes back to dance and dances with someone else. Leader points chambermaid toward new job in different house.

Chambermaid/young man. She flirts, he's anxious but infatuated. Leader fends off tutor (saying young man had gone out of town). Maid burns letter from soldier.

Young man/young (married) woman. He has rented an apartment, she comes by cab (Leader driving), dallies for a bit, then leaves. Looks at watch, a gesture she repeats with her husband.

Young woman/husband. He's doing his accounts, talks about how can't always have romance. She asks him if he's ever had an affair, he's disturbed, tells her not to spend time with such women, doesn't want to discuss. Twin beds.

Husband/girl. In private room in restaurant. Keep getting interrupted by waiter (build tension).

Girl/poet. He's self-important -- declaims, writes down quotes. Husband waiting in restaurant.

Poet/actress. They play mind games with each other (she's dominant, he tries to leave but is compelled to keep playing).

Actress/count. He pays a visit as an admirer, shy, but won over by actress's overtures.

Count/young girl. Scene starts after they've done whatever. He asks whether it matters whether one is young or old, or a gentleman? She says it doesn't.

Count doesn't see soldier, soldier pretends not to see count. Leader, posing as adjutant, barks at them, soldier salutes count and adjutant, leaves.
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My notes
-- some camera directions
-- scenes linked by music, common characters. idea of merry-go-round. (Love makes the world go round.)
-- theatrical origin (starts on stage).
-- leader manipulates story, makes meaning/theme explicit.
-- minimal character development. Interest is in connections, not people.
-- decisions - stay or go?


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