Blu-ray: ‘Letter from an Unknown Woman’ – Olive Signature Edition

Olive Films

Letter from an Unknown Woman (Olive Signature, Blu-ray) (1948), the second Hollywood film by European émigré Max Ophüls (who was credited as Opuls on his American movies), is his first American masterpiece, an exquisitely stylish romantic melodrama (based on a novel by Stefan Zweig) informed by his continental sensibility.

“By the time you read this letter, I may be dead,” reads aging bon vivant Louis Jordan from a letter found in his tiny hotel room. Hair tousled and tux tired from yet another night of meaningless flirtation, he’s startled by these opening lines and suspends his preparations to flee a duel to read the history of a love affair that he can’t remember. For the rest of the film we’re transported to the life of Joan Fontaine’s awkward young Viennese woman, hopelessly enthralled by the dashing pianist from adolescence and momentarily his lover, the emotional pinnacle of her life but for the philandering rogue simply another fling in a blur of women passing through his bedroom.

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Cool and Classic: ‘Letter From an Unknown Woman’

Letter From an Unknown Woman (Olive) was the second Hollywood film by European émigré Max Ophuls (who was credited as Opuls on his American movies), but his first American masterpiece, and he invests this exquisitely stylish romantic melodrama (based on a novel by Stefan Zweig) with his continental sensibility.

“By the time you read this letter, I may be dead,” reads aging bon vivant Louis Jordan from a letter found in his tiny hotel room. Hair tousled and tux tired from yet another night of meaningless flirtation, he’s startled by these opening lines and suspends his preparations to flee a duel to read the history of a love affair that he can’t remember. For the rest of the film we’re transported to the life of Joan Fontaine’s awkward young Viennese woman, hopelessly enthralled by the dashing pianist from adolescence and momentarily his lover, the emotional pinnacle of her life but for the philandering rogue simply another fling in a blur of women passing through his bedroom.

Fontaine delivers one of the best performances of her career, vulnerable and yearning without lapsing into sentimentality and ultimately showing a hidden strength as she risks all for one more moment with the love of her life. Jordan is genial and callow, an empty figure faced with the meaningless of his life and shamed with self discovery. Meanwhile Ophuls’ endlessly moving camera tracks, cranes, and circles around the characters while maintaining a measured distance, offering a privileged view of intimacy that captures both her life-defining rapture and his momentary engagement. It’s a sensibility more European than American, right down the empty gesture that concludes this sad melodrama, but it’s also a transition to making films in the American vernacular.

Ophuls only made four films in America. This is the first to make its long-awaited stateside debut on Blu-ray and DVD. No supplements.

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Max Ophuls in Hollywood on Turner Classic Movies

On Monday, January 23, Turner Classic Movies is showing all four films made by Max Ophuls, the great German director, during his brief tenure in America (when he dropped the “h” and signed his films “Max Opuls”).

The evening of “Max Ophuls in Hollywood” is followed by two of his greatest French films, La Ronde (1950) and The Earrings of Madame de… (1954), but while they are well represented in superb DVD editions stateside, the four American films showing Monday night—Letter From an Unknown Woman (1948), The Reckless Moment (1949), Caught (1949) and the rarity The Exile (1947), his Hollywood debut—have still not been released on DVD in the U.S.

The films of Ophuls haunt the space between the idealism of unconditional love and the reality of social barriers and fickle lovers. Yet his greatest films are anything but cynical; ironic certainly, but also melancholy, sad and wistful, and always respectful of the dignity of those who love well if not too wisely. His fluid, elegantly choreographed camerawork and intimate yet observant directorial presence have resulted in some of the most delicate and beautiful films made on either side of the Atlantic, but his American films have never been as celebrated as his more overtly stylized and seductively romantic French films (Ophuls left Germany in the early 1930s for the same reason so many fellow artists did).

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