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LOLA MONTES, the last film by Max Ophüls, is one of the most celebrated examples of both wide screen CinemaScope and lush Technicolor in film history. Added to this is Ophüls' usual use of sweeping crane shots and angled tracking shots, making this a beautiful, creative film. It is the story of Lola Montes (Martine Carol), the 19th Century dancer who was famous for her scandalous affairs with everyone from Franz List (Will Quadflieg) to Ludwig, the King of Bavaria (Anton Walbrook). At the end of her career she was the main attraction at a circus in the United States which featured a lavish tableaux of scenes from her life. The ringmaster, played by Peter Ustinov, leads the circus audience through her life, and also cues the cinematic flashbacks. Ophüls had used a similar structure in his adaptation of Arthur Schnitzler's play REIGEN in his film LA RONDE. Here, although not in chronological order, the flashbacks span Lola's life, covering everything from her early unhappy marriage to a drunken military officer, who she leaves to embark on a career as a dancer, to a very short affair with a German student played by a young Oskar Werner. Ophüls, with his always-moving camera, gives the story a wonderful sense of historical drama.