Every film from Roger Ebert's "Great Movies" essays.
Last Year at Marienbad
In a sprawling baroque hotel, a man tries to persuade a married woman to leave her husband and run away with him. He reminds her of her promise when they met a year ago, at Marienbad, but the woman seems not to remember that meeting...
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.…
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…
Whether being sleep-deprived had anything to do with it I'm not entirely sure, but something tells me I should've enjoyed Resnais' surreal, dreamlike Last Year at Marienbad a lot more than I did. It's without a doubt meticulously crafted and chock-full of innovation, a film with incredible visuals and a unique narrative that is guaranteed to leave you baffled. It's easy to see why it has garnered such a devoted following and I wish I could count myself in on it, but something felt missing in this otherwise excellent mind-bender. Maybe it's down to it being so emotionally distant and cold, but it never really clicked with me. It's one of those horrible moments in cinema of admiring the craft…
The filmic style of Alain Resnais had the remarkable talent of completely staying away from the revolutionary cinematic movement denominated French New Wave and had the guts of literally playing with cinema and modifying its usual structural grammar. With Hiroshima mon Amour (1959), film that counted with the unparalleled brilliant contribution of acclaimed novelist and screenwriter Marguerite Duras, Resnais could offer a different perspective of a non-linear and poetical storytelling never seen in cinema before. His next true masterpiece called L'Année Dernière à Marienbad allowed him to perfect his style, not exactly resorting to surrealism in its purest form, but rather introducing a hypnotic cinematic subjectivity dependent on the viewer's own interpretation of the dreamlike sequences and events. Consciously or…
Not a bad pick-up line.
In my review for Eraserhead, I dismissed the idea of assigning a star rating to the film as reductive, and immediately wondered if the same stance applied to "Last Year at Marienbad" as well. "Marienbad" is a loose, slippery, meditative exploration of interaction and memory and famously looks like a Magritte painting with celluloid in place of oil.
However, "Marienbad" is very much a film, and it is the constant mastery and subversion of these very filmic techniques that give "Marienbad" the hypnotizing effect that drew me in. It is a powerful orchestration between bold optical movements and tricks and jarring cutting that makes you feel relaxed and dozy but then jolting you to attention. Shot with quick dolly movements,…
I hope its not irreverent to say, but I really wish this wasn't how I got into Resnais. I have no doubt that he was a monumental director, and I can respect Last Year at Marienbad as a member in the halls of film history, but I can't say I thoroughly enjoyed it.
Loosely, and I mean very loosely, following a man and woman trying to remember if they met and, possibly, maybe, had a brief affair a year previous, all while tip toeing around a man who could be the woman's husband. There are many individual aspects of this film that work fairly well on their own, but together, the piece is a bit of a headache, dragging the…
The most challenging film I've seen in a while and definitely a film that went over my head, Marienbad is an undeniable sensory experience with an unsolveable and untraceable plot. Surprisingly turning stylistic markers of the French New Wave - extensive, disorienting use of voiceover that turns the film into a long conversation, for example - into effective an unnerving tools for horror, the film is 94 minutes of uncertainty.
This review reportedly contains spoilers. I can handle the truth.
"We always come back here."
My second viewing of this enigmatic masterpiece, an "edifice of a bygone era" that continues to be a pleasure to get lost in. A film that demands to be seen on the biggest screen possible.
Fuck this giant pile
Of navel-gazing bullshit.
I hate this shit pile.
Dadoh 5, ali mi se ne sviđa. Koliko god bio smoren gledanjem ovog filma ne mogu da mu sporim da je perfektno vizuelno odredjen, kvalitetno montiran, tako da sve ima neki "dreamy" osjecaj.
Ko zna, možda ga nekad ponovo pogledam pa mi se svidi.
"...heavy with ornamentation of a bygone era..."
I'm going to have to take a couple of days before I can really formulate an opinion on this movie. That said, it's mostly interesting at the least, and it's amazingly well-shot.
When watching a film like Last Year at Marienbad, one that withholds narrative closure and, in fact, actively thwarts orthodox viewing procedures, you may ask yourself, to quote the gas station attendant from No Country for Old Men, "Well, look, I need to know what I stand to win." The way I see it, you gain two things from sticking with this film:
1) You have no choice but to be active, even if you decide, upon the fourth repetition of that opening monologue, to just 'let it all wash over you.' That's a cute way of giving up, but thankfully Resnais does not even permit that option here. This film is all form. Remember when your professor told you…
- 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 1154. An easy way of seeing how…
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!