Le Plaisir

Directed by Max Ophüls, Le Plaisir is an anthology drama featuring three tales culled from the work of Guy de Maupassant: “Le Masque,” wherein a young doctor encounters a most unusual patient; “La Maison Tellier,” which follows several prostitutes as they head into the country for a little girl’s communion; and “Le Modèle,” detailing the tumultuous relationship between an artist and his muse. There’s little doubt that Le Plaisir fares best during its opening installment, “Le Masque,” as filmmaker Ophüls has infused the admittedly simple story with a briskly paced and consistently engrossing feel that’s heightened by his often jaw-dropping directorial choices (eg Ophuls, along with cinematographer Christian Matras, offers up a number of captivating tracking shots). It’s only as the movie rolls into its second tale, “La Maison Tellier,” that one’s interest begins to flag, as the 70 minute (!) installment, though it opens with an astonishing crane shot, meanders and lollygags for the duration of its palpably overlong running time (ie it’s just monotonous and seemingly endless). It’s almost impossible to understate the complete and utter disastrousness of this portion of the proceedings, with the interminable vibe ensuring that the comparatively enthralling final story, “Le Modèle,” is, as a result, unable to make any real difference in the film’s overall impact – which ultimately cements Le Plaisir as a visually sumptuous yet tedious and hopelessly irrelevant piece of work.

*1/2 out of ****

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