I first saw La Ronde in 1950, at an art theatre, when I was completely caught up in the concept and progression of scenes, but only a novice at critical analysis. Consequently, it was one of the first (Beta) videotapes in my collection.I viewed it again last night, for only the second time. I can understand the reactions of those, especially contemporary viewers who expect romantic scenes to be more explicit. (The French were doing that very well long before Hollywood, so the lack in this film does not result from reticence.) Yet after 53 years the film has lost little of its charm for me: (I notice that older viewers tended to rate La Ronde higher than those who are younger.) The linking device came from Schnitzler, not from the film scripter, so could hardly have been avoided, and the segments varied in quality. It seems that the actors did not take the film or themselves too seriously, which was quite appropriate. I recall that the only full-screen close-up came at the end, with Signoret as the prostitute. Was that a final comment on love itself: always exploitative and transitory; as seen in each scene, to a greater or lesser extent.