This is how I would introduce a newcomer to foreign classics, from most accessible to least accessible. I'm still a…
Last Year at Marienbad
Takes place in a chateau, an ambiguous story of a man and a woman who may or may not have met last year at Marienbad.
Deconstructing cinema much in the way Bresson wanted to do but in more grand fashion. It is akin to the Dadaist art movement of anti-art, breaking the rules and destroying the notion of what we perceive as true art. Perhaps not fully to that extent but Resnais clearly experiments with the medium of cinema in a way majorly unaccepted and ironically it becomes the focal point of where the film's greatness lies.
Last Year at Marienbad begins with repetitive and poetic narration ominously filling the air of the long empty corridors and parlors it softly speaks of. In the first few opening scenes alone it is apparent Resnais is ready to deliver something entirely unique to the world of cinema.…
Set within the confines of a grand château, Last Year at Marienbad is a vessel of half-memories and never-ending corridors. It's a black and white nightmare refusing to flow smoothly as all of its elements face off in a tremendous aesthetic battle. Organ music pummels into dialogue, distracting from dense and repetitive conversations, and making it impossible to fully comprehend a grounded reality. The film has its own space, its own temporality, and everything is completely folded into the inescapable setting.
Despite being frequently labelled as ambiguous and surrealist, Last Year at Marienbad can be read in quite basic terms when stripped down. It's always seemed to me that the film attempts to depict the aftermath of a tragic affair…
won't be surprised if I have
like eleven nightmares tonight.
'El año pasado en Marienbad' es la película enigma definitiva. Todo el conocimiento que se desprende del relato es parcial, semioculto tras capas y capas de no se sabe bien qué. Inasible más allá de la sensación; imposible de definirse entre el sueño, la pura fantasía, el delirio, el metacine. Él (el hombre, X) no puede dejar de narrar y narrar(se), pero su relato topa con la falta de memoria, de referencias, incluso con la pura incomprensión, de ella (la mujer, A). Como si la película tuviera una lógica onírica que no puede verbalizarse, como un sueño que tiene todo el sentido en el mundo onírico pero que lo pierde cuando se intenta poner en palabras.
Puro ‘fantastique’, la película…
Warning: There might be spoilers ahead.
My first venture into Alain Resnais' filmography couldn’t possibly have left a better impression. As great as straight forward structures can be, it's films like Last Year at Marienbad that give cinema such a unique identity and the ability to tell a story in a way that no other medium can. I like ambiguous films, but it’s the experimental nature on top that really makes this a special piece of work. I don’t really know how to review a movie that often completely ignores typical movie conventions, instead I’m going to talk about observations I made regarding the content, style and what impression they left me with.
Last Year at Marienbad is a film…
"Why don't you still want to remember anything?" ~ X
The trailers announcing this film promised moviegoers a new cinematic experience, "better than 3-D, better than widescreen," putting the viewer at the center of a love story and a mystery. It would require us to come up with our own answers about the truth of various scenes and what really happened at Marienbad a year ago. Right away, we know this is going to be avant-garde filmmaking. Fortunately, having already experienced one film by director Alain Resnais, "Hiroshima Mon Amour," I thought I had some idea of what I as getting into.
It doesn't help at all, of course, that the characters have no names or clear relationships. They are…
Really intricate. Very complex, hard to understand but super interesting photography and staging. It was almost like a play, the way the scenes took place.
A mind bending, surreal dream-like labyrinth of a film. Completely mesmerising, but also impossible to interpret. This has staying power and re-watches are 100% guaranteed.
‘The truth of a thing is the feel of it, not the think of it’ – Stanley Kubrick
Contrary to what some would have you believe Alain Resnais ‘Last Year at Marienbad’ is neither a boring or pretentious movie. It’s not boring because its sense of mood and atmosphere is so commanding and hypnotic and it’s not pretentious because it realises and fully embraces the fact it’s not about anything at all. It has no message. The ethos of the film is made crystalline in one particular moment, two characters “A” and “X” examine a statue of a woman preventing a man from moving forward. Why? What has she seen? Are they lovers? Why is there a dog at their…
content note: rape & gaslighting
being gaslit is like being thrust into a hall of mirrors, full of the most baroque lies and constructions of alternate realities, ‘false doors, fake columns, painted perspectives, false exits’. you’re betrayed by every wall—a twisted price to pay for trying to protect your own. resnais turns the last half-hour of vertigo inside out, the better to reveal its byzantinely-twisted guts: a rapist who’s desperate to reconnect with his victim, who can’t understand why she wants nothing to do with him, that she only occasionally gives in to his fantasies in hopes he’ll stop. nothing’s his fault, everything’s the fault of others’ memories or even the system; even when presented with an easy victory in the…
The characters, or rather figures, in this Alain Resnais movie are a tony variant of the undead of vampire movies-"We live as in coffins frozen side by side in a garden." This high-fashion puzzle movie, written by Alain Robbe-Grillet, is set in what is described to us as an "enormous, luxurious, baroque, lugubrious hotel-where corridors succeed endless corridors." The mood is set by climaxes of organ music and this distended narration; it's all solemn and expectant-like High Mass. The dialogue about whether the characters met the year before is like a parody of wealthy indolence. The settings and costumes seem to be waiting for a high romantic theme or fantasy; the people, pawns who are manipulated into shifting positions, seem…
I revisited this Alain Resnais/Alain Robbe-Grillet masterpiece for Brooklyn Magazine here.
...Love at first frame
Of course... OUT OF PRINT!!!
Anyone know where to find this on baby blu, for less than $150.00???
One of the best movies, no doubt, but I was very tired and distracted by random thoughts during this viewing. To be revisited, soon.
A story about people who are forever trapped at a hotel in an endless cycle of the same events, this film is obsessive, claustrophobic, and stifling in nature. The man’s insistence on a single matter that persists throughout becomes a little hard to bear after a while. Combined with the unnerving score, the film quite literally comes to threaten the audience’s sanity. And I don’t necessarily mean any of that in a negative way. Did I enjoy feeling like going mad? Nope. But that’s exactly the intent of the film -- to nearly drive one crazy, and the picture is immensely successful at doing just that.
While most people seem to appreciate this film just as Alain Resnais’ visual accomplishment,…
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
"You think you are alone as the years go by. If the stars are on your side, you may discover…