This early Max Ophuls is, in many ways, exquisite: it has a beautiful heroine (Isa Miranda), incredibly elegant mise-en-scene, a ravishing score ... the refinement is devastating! Everything is in place to seduce the viewer, as he sets in motion a melodrama of great ambiguity. Is Gaby a bit dim and a victim of her beauty and of men, or is she more complicit in her fate? Unfortunately the genre requires that the question remain unanswered for the spell to remain unbroken, but really it is a shortcoming because, really, she either knows or she doesn't know the effect she has on men, and the reactions are in any case ludicrously extreme, starting with a schoolteacher who apparently committed suicide over knowing her in passing. I feel a bit in two minds about the whole exercise, admiring its style and emotional charge as much as I find it over-the-top and artificial. In the end, I cannot decide, which is one of the things that keeps it alive for me. I tend to feel that melodrama, like the thriller genre, falls short as a way of representing the world, both for its simplification, and also the sense of diminishing returns with successive viewings. Nevertheless La Signore di tutti does have a surface of great seductive power. The booklet in this edition is, as with all Eureka productions, outstanding.