I like the storyline of this show,it attract me so much

Pretty Good

Fantastic!

The film never slows down or bores, plunging from one harrowing sequence to the next.

'La Ronde' occupies a special place in the filmography of Max Ophuls. Before this film nobody had dared to carry out an extensive study about love and sex. It is not a mere coincidence that 'La Ronde' finds some sort of an echo in the writings of Italian writer Alberto Moravia. According to him there can be sex without love but hardly sentimental love without sex. Max Ophuls shows the thin line which separates love from sex. It is a marker used by him to differentiate between various dichotomies namely rich and poor, sacred and obscene. The Facial expressions of all actors have been nicely filmed as their frustrations are clearly visible. While watching different episodes of 'La Ronde', viewers are constantly reminded of the fact that the notion of love does not remain same in the context of a relationship between a man and a woman. Lastly, 'La Ronde' remains a grim reminder of the fact that social conventions were challenged and a lot of people from all strata of society were involved in the spreading of illicit love. All this happened at a time when nobody was alien to other person's secrets.

If we look at every particular story, this is just like any other romantic movie. But seeing it as a whole makes it a grand & poetic romantic charmer. Story is set in Vienna,1900. Starts with a street hooker falling for a young soldier and then begins a humorous chain of romantic affairs going through various personnel of different classes until the end of the circle. Every love affair is basically somewhat superficial and illegitimate in some aspect too. But the masterful story-telling of Max Ophuls don't let us think about anything else. The sets,music adds up into its mood of romance. The flowery conversations between the characters are like treat. Movie's main strength is its narration. Anton Walbrook brilliantly does that job. It flows through time and place, the narrator is all-knowing so there is no boundary in the story. He brilliantly appears in different looks and serves as a charming guide in this endless journey. Every character has its own personality, and within very small time they leave their mark. Affairs of different classes & professionals are brilliantly combined in the tremendously romantic city of Vienna. It is surprising how a movie entirely shot in one studio gives a ride through a whole city of different time and place. Overall this is a fascinating cycle of love, definitely worth going through. If you are in a bad mood, this movie can be a possible cure. Spellbinding and enormously pleasant.

Whilst an undoubtedly well-made film, La Ronde is almost completely lacking in depth. Based on a fin-de-siecle stage play, it purports to show how a series of love affairs (and, by implication, venereal diseases) span the divides between social classes. Unfortunately, the film does little more than that and, once this central theme is established, the narrative plays out tediously.Undoubtedly the original play would have been of interest due to its shock value when it was first staged and, likewise, this film version may still have had the power to titillate audiences somewhat in 1950 but today, lacking that power, there is little to sustain interest over its entire running length.One of those few things that does make the film interesting, however, is the opening sequence. The narrator is a compelling character and reminds the audience that they are watching a film, showing studio equipment at times. Modernist artistic techniques have seldom been used in films so it was refreshing to see them exploited here. The narrator appears at the end of each "round" of the dance, constantly reminding the audience that what they are watching is not reality but an acted series of events on a stage. Likewise, the "dance" or "ronde" motif is simple but it effectively conveys the empty, vacuous nature of the love affairs and how each participant is drifting from partner to partner.Ultimately, this is a technically-excellent film but without depth. Once it says what it has to say, it relies merely on (now-faded) shock value and the director's excellent grasp of technique and these are not enough to sustain a film of this length.

Arthur Schnitzel's classic play "Reigen" was the basis for this 1950 film conceived, adapted, and directed by Max Ophuls. Jacques Natanson assisted with the screenplay.We are taken to the Vienna of the turn of the 20th century, where a master of ceremonies introduces the viewer to a series of vignettes in which each character shows his or her love to someone, who in turn reappears in a new situation with another character. Schnitzler was perhaps exploring the connection that exists among human beings, a sort of "six degrees of separation", if you will, that happens to most of us in one form, or another. The idea of life as a merry-go-round serves well the adaptation.A star cast was gathered to play the different people that inhabit the film. Anton Walbrook, the Vienise actor, is the narrator, as well as the man that introduces us to the different situations. Simone Signoret, Serge Regianni, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernand Gravey, Odette Joyeux, Jean-Louis Barrault, Isa Miranda and Gerard Philipe play the different characters with elegance and charm.