Every film from Roger Ebert's "Great Movies" essays.
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.
Self-indulgent cinema at its most beautiful. I wanted to love this because duh, but I hated it because also duh. It goes nowhere, it fails to create any kind of atmosphere, and the "nightmare" it portrayed was a pretty tame nightmare. I once had a nightmare where my penis turned into a snake and ate my butt. Make a movie about that.
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…
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…
I know its ultra plebeian of me to not give this five stars but watching pretty looking aristocrats valiantly battle their apathy and ennui while a droning organ ceaselessly drills into your skull is really not my favourite way of spending a Sunday evening. From what i had read, I was led to at least expect a thought-provoking experience full of ambiguity and rich thematic content but as it turns out there were not too many layers for me to explore and it was actually pretty straight forward. But most importantly, it never really engrossed me and I was completely cold right through.
However. The fact that it is so ridiculously beautiful does make up for quite a bit more…
'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…
A film that flows through a dream like mobius river of archetypes and desires. Some will surely say pretentious (on my first watch I thought about it that way too) but I would say don't over-think it.
It's like a game of Nim from this film - you can rack your brain trying to understand how to win it but it's so simple once you learn a simple Mathematical theory. Of course there are loads of interpretations for it: a dead man in limbo trying to escape it by bring one soul to life, a psychiatrist trying to make his patient remember a repressed memory, hell in a documentary they even viewed it as a character in a movie who…
Snow day viewing...
This was my fifth try to actually make it through this movie, and I finally did. I honestly don't know why I kept trying. I kept thinking, what is it about a Malick or even Tarkovsky film or even Upstream Color, films that are purposefully difficult that I like...what is it that they have that this film doesn't. I don't know. I feel like I am able to find a warmth in those films that I can not find in this movie at all.
I hated this. I hated the characters. I REALLY hated the sound design. I hated so much about this movie.
An additional star given because I could actually envision liking this more with the sound and subtitles off.
Definitely need to rewatch under more optimal conditions (not pausing 50x to entertain my dog).
I don't think I've ever been so simultaneously bored and fascinated by a movie. It took me until about halfway to get on the movie's wavelength, or at least decide on a wavelength to get on, but once I did, things started to click for me. On some level, this movie is extremely frustrating. It's an hour and a half of dreamy voiceover and confounding images. There's no beginning, middle and end, just exploration. At first I completely rejected everything about it; there didn't seem to be anything there, just mood and atmosphere. I was tempted to turn it off, and I even did for a few minutes, and yet somehow I felt extreme guilt, like I hadn't given the…
What an awesome mindfuck...
Equal parts perplexing and beautiful.
i still don't fully understand this film (after having watched it twice now) but i do admire the style, engaging and dream-like, i was in a trance at times, would have been better if i could understand french properly.
Time itself on screen.
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…