La Ronde

It takes its audience on a dizzying swirl, like a waltz, or a champagne-induced headspin.

The characters are sketchy by design, but the set design is wondrously opulent, and Ophüls cleverly picks up on Schnitzler's central theme, about how sexual desire erases class distinctions.

The intricate work of a craftsman, and a beautiful appearance by the beguiling Simone Sigornet.

The performers are as seductive as the script. It's quite an affaire.

Ophuls’ technique is often on the nose, but it’s still exhilarating.

Ophuls has used a dearth of closeups, brilliant decor playing a vital part. Film gains an opulence in the expert lensing of Christian Matras. There is much filming through carved glass, linen, silks and mirrors to create the aura of romance.

Not one of the director's very greatest films on desire (see Letter from an Unknown Woman and Lola Montès for those), Ophüls' circular chain of love and seduction in 19th century Vienna is still irresistible.