Some films exist to tell a story, others to make the viewer feel a particular sensation. On some rare occasions, we even find a film that’s primary function is to weave together pure visual poetry. This is the most appropriate way to look at The Earrings of Madame De…, the wonderful romantic melodrama by the esteemed director Max Ophüls, in what is often considered not only his crowning masterpiece, but one of the greatest achievements in French cinema. It’s difficult to argue with such assertions, especially since everything about this film can be considered an enormous triumph – the gorgeous filmmaking, the stunning performances and the fascinating story that occurs somewhere between character-based, psychologically-charged drama, and soaring romance. In no uncertain terms, The Earrings of Madame De… is one of the most important films to come out of the 1950s, one that not only served as the convergence of nearly half a century of filmmaking, but also influenced countless films that used Ophüls’ as an inspiration. How one can even start to talk about this achingly beautiful film is bewildering, at least in terms of putting it in words that feel genuinely coherent and aren’t just a rambling series of unsteady proclamations of devotion to the gorgeous world the director constructs from the novella by Louise Lévêque de Vilmorin, whose original text served as the loose foundation for Ophüls curious insights into the trials and tribulations of the upper-class in the early 20th century. One of the rare cases of a film more than earning its status as an unimpeachable classic, The Earrings of Madame De… is a vitally important film, and one that only grows in estimation the more one steps away from it and realizes all the nuances that are scattered throughout the story.

Telling a story like the one at the heart of The Earrings of Madame De… isn’t always the easiest task, because while there was strong source material that helped guide the director, audiences aren’t always receptive to these bold and extravagant tales of the bourgeoisie, especially when it centres on problems that very few (if any) viewers will be able to relate to. The idea of a rich woman not knowing if she should continue to be part of a reliable but loveless marriage with a man she respects more than she loves, or engage in a lurid affair with a similarly-affluent baron who excites her more than her wealthy husband ever did, is not one that lends itself to much resonance amongst viewers. However, this is where Ophüls proves his mettle as an artist – he not only embraces the very peculiar quirks of the upper-class, but he makes it so accessible and interesting, the feeling of detachment is entirely lost as we gradually venture deep into the heart of the love triangle at the core of the film. The most obvious method is through framing much of the story through the perspective of the eponymous earrings, with these pieces of jewellery functioning as the common thread through which Ophüls is able to weave together these episodic moments that take place over several months. A motif that works equally as well in terms of being both a plot device and a metaphor for the growing disillusionment felt by the titular protagonist, the film effectively uses something as simple as a pair of earrings to tell a captivating story of both unrequited love and the loss of passion, oscillating between the two with a fervency that is almost unbelievably profound when we look deeper at the storytelling process.

It’s not often that we find a film that works in tandem as both a visual spectacle and intimate, character-driven drama – but as he made abundantly clear through his career of directing enduring masterpieces, Ophüls had a knack for combining both of them. The Earrings of Madame De… is a masterful example of this approach, with the story depending as much on the director’s eye for detail as it did the development of the characters. The legendary Danielle Darrieux, who had already been a part of the industry for a few decades by this point, anchors the film as the titular Madame De…, a lonely woman caught between two lovers, confused by the fact that somehow, she has fallen out of love with the man who has provided for her over the years, and collapses into the arms of another, who seems intent on filling the void left by her good-natured but uninteresting husband. Darrieux is joined by the equally legendary Charles Boyer as Général de…, and the wonderful Italian filmmaker Vittorio de Sica (whose presence as an actor here was apparently intimidating even for the self-assured Ophüls) is Baron Fabrizio Donati, who represents the antithesis of everything that her husband stands for. The trio of leads are all wonderful – they do exactly what is required of them, especially when it comes to playing up the intricate connections being formed between the main characters. The film thrives on their poignant energy, and their ability to capture the upper-class malaise that is often difficult to find represented with such genuine care in other period dramas about the high society. As much as we’re enthralled by Ophüls’ approach to the story, it’s really the actors that linger on with the most ferocious intensity, and the film makes sure to clarify how important developing these characters were to the success of the story being told.

The process of deconstructing exactly what it is that Ophüls does so well in The Earrings of Madame De… comes down to how we relate to his exploration of these characters on both a personal and metaphorical level. The film is as much about the various day-to-day activities of these individuals as it is a testament to a particular era in the history of France. If we remove the central premise, and just look at how the film functions between scenes, the director is masterfully exploring some very deep themes relating to identity in a time when homogeneity wasn’t only common, it was actively encouraged. A film about resilience, and going against a system that seeks to categorize people beyond their actual merits, The Earrings of Madame De… is a curiously-constructed melodrama that says as much about French culture as it does the specific actions of these characters. The interweaving stories – using the earrings as a central motif – only motivates the film to venture deeper into the various relationships, Ophüls curating some very tender moments between characters that are oddly resonant, especially taken at the most fundamental level of human interaction. Everything is very abstract, and it’s incredibly poetic how the director managed to find the humanity in situations that would usually fall victim to ambition. Ophüls finds the perfect balance, and gradually unravels the very taut, compact narrative contained in this period drama, and eventually lies everything bare, where there is nothing other than the unflinching truth presented before us – and with such audacity comes something truly incredible, even at its most effortlessly simple.

The Earrings of Madame De…, in its role as one of the most important pieces of French cinema ever committed to film, is something of an anomaly – it is a lavish, gorgeously-made period drama with enough visual splendour to be considered the gold standard for historical films. Yet, it is also a profoundly intimate journey into the psychological states of a few interesting characters, who represent an entire class system that existed at a pivotal time in European history, between two centuries in which the entire world was changing. This is reflected in the background of the film, but never to the point where it becomes too overwrought or heavy-handed, the director ensuring that everything in his world was well-placed. The reputation of this film may lead some potential viewers away from seeing it – on the surface, it seems like a stuffy, heightened melodrama, but once we immerse ourselves in the story, we realize how profoundly modern-minded it is. The emotions are broad but genuine, and the brief touches of humour being increasingly dramatic moments only make it more enthralling, since Ophüls is finding the humour often where we least expect it. Deep and insightful, and always beautifully composed in both character motivations and visual scope,  The Earrings of Madame De… is a wonderful piece of cinema that warrants the legendary reputation it has amassed in the years since its release, with every directorial choice being an absolute revelation, adding the ethereal nature of this enchanting film.