Madame de… (A.k.a. The Earrings of Madame De…) (1953)
A rich woman sells some earrings to pay her debt but here husband, who gave her the earrings buys them back, this exchange is repeated until another love interest becomes the one to buy back the jewellery for her, leading to jealousy.
This film serves to show the fickleness and hypocrisy of the aristocracy in all their habitats. In particular the scenes in the church where Louise makes one-sided bargains with the saints for jewels exposes the priorities of the rich. The shots also focus more on the jewellery than the characters, following the earrings across the room to find the characters.
Marriage is very poorly represented, but still in the traditional way, as a status symbol with both partners using it to serve their own selfish ends. Even by the end the representation of it hasn’t changed much since the better couple are together in meaningful ways without the institution and another kind of social ritual is used to solve the situation to nobody’s benefit.
There’s almost a spitefulness in the structure of taking a typical love story of lovers who cannot be together and turning it into a tragedy, similar to Romeo and Juliet but without the alleviating comedy and more than just the lovers are together in death. It’s interesting that the lies aren’t over-dramatised but most are discovered as false almost immediately after they’re told.
All the parties are culpable in some way, either of needless deceit, abusive manipulation, or adultery. This makes it one of those uncomfortable classic films where nobody is worth routing for even in an ironic way. These films may have theatrical and cinematic value but they cheapen the idea of love by pretending that deceit somehow elevates passion.
3/10 -This one’s bad but it’s got some good in it, just there-
-Two other titles for the film include “Golden Earrings” and “The Love of Their Lives”.
-Neither the Madame or General get surnames in the film, referring to a trend where the upper class would frequently change names or remain anonymous.
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Tamara de Lempicka, 1929, by Dora Kallmus (Madame D'Ora)
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