La Signora di tutti (Ophuls, 1934)

[Saimo]

It appears to be exactly the same, I think it hasn't been available for a while , that's all.

Yes, exactly. RHV has just changed his distribution partners and some titles have been unavaible for a few months.

[Jonathan S]

I don't suppose I'm the first to notice this, but there's a jaw-dropping technical goof in this film starting at 26m 7s (on the DVD). For fifteen seconds, as Gaby and Roberto enter the garden from the right, what I take to be the sound man holding a microphone is clearly visible on the left of the shot, initially stationary then walking backwards in front of the couple. At first I thought he was an extra!

Or is it a goof? Given that - like Lola Montes - the film is so self-reflexive about the process and tools of image-creation, including microphones, I wouldn't be surprised if Ophuls decided it was serendipitous and deliberately left it in.

There are several other shots where the shadow of the camera is very obvious, usually as it moves forwards. Are these "flaws" quite common in early sound films from Italy or is it Ophuls slightly overstretching the technical skill of his crew? (I don't know anything about the restoration of this film but given its pristine quality the thought did also cross my mind that it might have been reconstructed in part or whole from outtakes, like the Chaplin First Nationals.) None of this detracts from the greatness of the film - and for me it perhaps even adds to it.

[tajmahal]

I don't suppose I'm the first to notice this, but there's a jaw-dropping technical goof in this film starting at 26m 7s (on the DVD). For fifteen seconds, as Gaby and Roberto enter the garden from the right, what I take to be the sound man holding a microphone is clearly visible on the left of the shot, initially stationary then walking backwards in front of the couple. At first I thought he was an extra!

Or is it a goof? Given that - like Lola Montes - the film is so self-reflexive about the process and tools of image-creation, including microphones, I wouldn't be surprised if Ophuls decided it was serendipitous and deliberately left it in.

There are several other shots where the shadow of the camera is very obvious, usually as it moves forwards. Are these "flaws" quite common in early sound films from Italy or is it Ophuls slightly overstretching the technical skill of his crew? (I don't know anything about the restoration of this film but given its pristine quality the thought did also cross my mind that it might have been reconstructed in part or whole from outtakes, like the Chaplin First Nationals.) None of this detracts from the greatness of the film - and for me it perhaps even adds to it.

Shohei Imamura's Intentions of Murder has a wonderful, reflected camerman cameo, during the long scene where Sadako runs through the train.

[NABOB OF NOWHERE]

And adding yet more fuel to a bloopers and goofs split thread - there's the wonderful clear cut camera shadow over Aznavour's white trench coat in the tracking shot where he's summoning up courage for a conversation with the barmaid in Tirez sur le Pianiste.