Can't go into it just now as I'm taking a brief intermission midway through (Korngold fanfare) THE CONSTANT NYMPH. so I spent like an hour earlier trying to find this book on here constantly coming up with 24 hours in the life of a woman, and right before giving up and assuming there were two titles I wiki'd and learned those are two different (if seemingly similarly themed) books. But I stuck with this little novella until the end, and found it to be an incisive indictment of the male gaze, what it misses and inflicts. Letter From an Unknown Woman I found to be a superb piece of writing. LETTER FROM AN UNKNOWN WOMAN Original: Brief einer Unbekannten 1922 Translated from the German by Anthea Bell Letter from an Unknown Woman is a novella by Stefan Zweig. And, of course, Chaplin was the ultimate independent filmmaker. This novel takes form of monologue in which a character recounts a story berating the listener for past sins of omission and commission. Of course not, but given the realities of commercial drama from La Dame aux Camelias onward it usually is sentimental, up to and including the narcissistic writhings of method acting.
** Lisa also loses her chance to be a real muse and manager but then, as the poet Lew Welch said, "Any man who confuses his mistress with his muse is asking for trouble from both of them.". Don't know what to feel or think. Hitchcock of course shows us both Scotty's creation, "Madeleine", as well as Judy, who exists independent of Scotty (although he will remedy that pretty soon).
I always thought that Letter would form a great double bill with City Lights: unrequited love quietly traced by a lack of recognition.
It is a heartbreaking yet strangely uplifting moment. I have also encountered it in Strindberg's Stronger, Sandor Marai's Embers, Sandor Marai's Metamorpheses of a Marriage and Bergman's Personna. by New York, The Viking Press. Translated from the German by Eden and Cedar Paul.
But it's an undercurrent of any number of relationships -- even those that don't blossom into full-blown Venis in FursIt has a flexible power dynamic, you know.
Masochism need not be sentementalized. Re Scottie's preference twixt Judy and Madeleine, this should answer most questions. Siren, this is totally off-topic but it's been plaguing me ever since you put up your new banner. I bought it yesterday and read it all in about two hours total. I see your point, Rachel, but I'd want to have all my wits about me(insert still of Jimmy Stewart handing Kim Novak a stiff drink as he says her hair color can't matter to her).I'll never forget the Lincoln Center double bill of Letter and Madame de... Bliss it was and very heaven. This is sex and a high stakes game for happiness in a benignly hostile society. Well let's split the difference and say she makes masochism a noble pursuit.Great observations, Siren -- partcularly about her falling in love with him through his music.I suspect Thomson was taken aback by such a woman-centered story. Oh, and one another thing. XT, comparing Letter with Vertigo brings out one crucial difference between the two films: Scottie wants to impose his will on Judy (and does); Lisa would rather die (and does) than influence Stefan in the slightest. We’d love your help. I'd say that Ophuls is dealing with the reality of suffering rather than sentimentalizing or glorifying it in the manner, say, of the younger Dumas. Let us know what’s wrong with this preview of, Published
*Sorry I can't pinpoint the scene but it's before Lisa moves to LInz. Street walkers?
What a story! This is called a novella, but at best it's a short story and one th. The lighting, too, intensifies the agonies of a doomed romance, as well as subtly accentuating the lovers' innocence and guilt: she is bathed in a beatific glow, he is forever in dubious shadow. Cruelly, Lisa's passion is unrequited; even worse, Stefan - befuddled by a lifetime's womanising - has no idea who she is when she turns up at his apartment. Can you ID everyone? The changes Ophuls made to Zweig's novella are a perfect study in what would work/not work on page and screen. This device can be effective the first time that one encounters it. Women's pictures--that romantic subset of golden-age melodrama where, as Molly Haskell said, "the swirling river of a woman's emotions is as important as anything on earth"--have always been my favorite genre. "Or like that other fun couple Scottie Ferguson and Judy Barton. All his films were indies.He was Sundance avant la lettre in that respect.
James Mason, who appeared in two of Max Ophüls's films, once wrote a short poem about the director that begins: "A shot that does not call for tracks / Is agony for poor dear Max / Who separated from his dolly / Is wrapped in deepest melancholy." Masochism is obviously distasteful to you, X. A love that starts young, never would grow old, and demands so very little in return--only a fleeting recognition would be enough and when even that is denied her would rather die than go on with life.
Incredible how Zweig managed to capture in a novella so much emotion, so many feelings, that others cannot in 500 pages. The kind of love which, if it doesn’t bloom, it kills and gets killed, ending up in a Waterloo that only big ideas can cause. Which probably contributed to the air of impatience he gave to Stefan and Gaston, as if the arts of pleasure are only taking up one-tenth of his brain power. (The back of my hand to you, X! There are tons of films about women (Bette Davis) and "women's films" (Jane Wyman) but few get right inside a woman's romantic obsession the way LFAUW does. For Stefan Zweig love seems to be a never ending affair. This is a dramatic and tragic novella written in the form of a letter from a woman to the man whom she has loved for many years. then I searched again and finally found the book. In 1992, Letter from an Unknown Woman was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Its women readers gave this more 4's and 5's so I guess it may be possible for a woman to love like that.
And how did John Waters get in there?
Anyone unfamiliar with the work of Stefan Zweig. Lisa Berndl is a female Julien Sorel (no masochist he) with the same all conquering passion and fatal blindness.
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