All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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…
Last Year at Marienbad is one of the most surprising films I have ever seen. I had read many articles on how the film is rather aware of itself, or was considered pretentious. I, however, find that the film was remarkably advanced for its time - this is '61, people. The only other Alain Resnais film I have seen to date is Mon oncle d'Amerique, which I did not enjoy immensely (aside: after this, I plan a rewatch very soon). Yet with this film, Resnais has created something that has not aged noticeably, along with some of the most beautiful and influential camerawork in the history of cinema. Many parodies were apparently spawned from the style of this film, lending…
"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…
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…
Tragically slow and indecipherable until the last ten minutes, but visually exquisite beyond belief.
Alain Resnais’ Last Year at Marienbad, fifty years after its release, is still one of the most challenging pieces of cinema I’ve ever encountered. See, Marienbad isn’t like other films. Sure there are main characters, three, and a plot, a love triangle, and a setting, a beautiful European Hotel. However, there’s no temporal or spacial consistency - the audience is never aware when or where something is happening, or, since a number of the scenes seem to be told through vague recollection, if they even happened at all.
Or perhaps they’re dreams.
Or perhaps they’re lies.
It’s Barthes’ Morte d'Author through and through, as each participant must assemble her or his own movie from the shadowy fragments Resnais offers up,…
"Self-indulgent"? "Pretentious"? My ass.
Deal with it.
It has the air of something bigger than itself, I'll give you that. But it never ONCE descends to the slippery realms of pretentiousness. While watching The Last Year at Marienbad, I never felt like there was a "larger" point to get. I felt like Resnais wasn't compelling me towards a larger answer. Anybody can analyze this film in a Marxist, feminist, Freudian, Christian, Taoist, Buddhist, or even Existentialist framework. But no matter which way you figure it, The Last Year at Marienbad is still going to be the same set of astounding shots, the same mathematically precise rhythms, the same rigid compositions: it will be, therefore, a film…
A battle with history and the search for a pattern among frozen tableaux through a hotel as metaphor for the mind. Filled with labyrinthine passageways of obsessive and repetitive reflection, flipped memories, nightmare, fluid camera moves, minor keys, subtle gestures, and symbolic thoughts. A very unique film experience.
Resnais is able to make one of the coldest, slowest, discordant, and repetitive films hypnoticly enjoyable. If that doesn't make him a good director, I don't know what does.
Ok, I watched this because of the book 1001 Movies you must see before you die.
There's an old Larson cartoon where Hell's video store only carries copies of Ishtar. If Hell, as a concept, is your own personal worst nightmares come true then my personal Hell's video store would be nothing but copies of Last Year at Marienbad. And probably Transformers sequels. Resnais' film is the biggest load of arthouse wank I've ever had the misfortune to see and I've seen a lot of terrible arthouse pictures. Resnais himself called it "crude" but clumsy would be fine. Overbearing would work too.
Now, I generally don't like French New Wave and I'm not overly keen on experimental art pictures in…
Last Year at Marienbad starts before it begins, with Robbe-Grillet’s highly literary voiceover recited in media res over the white-on-white credits, beginning the incantation of a spell that will bring us into the sur-reality of this stately manor. It’s as much about the sound and rhythm of the voice as it is the content—perceptive descriptions of the haunting nature of architecture and production design—as it is coupled with the slow tracking and dolly shots, moving from the ceiling, to the walls, to the eye view of the empty space, connected seamlessly and hypnotically by the roving camera. The models which fill this space are no less controlled, as Resnais illustrates with a series of literal stops and starts in mass…
Its haunting, dream-like mystique is certainly captivating, but the man's incessant persistence was unbearable as hell.
This is a film which remained rooted within my head from the first day I watched it and even months after having viewed it then I still think more about it, with desires to come back. Alain Resnais's Last Year at Marienbad is without a doubt one of the most beautiful things ever to have been put on the screen, a film which makes me feel as if I'm living right through some sort of an odd dream. As I keep sitting, I'm only left thinking... "What is real in this world Alain Resnais has created?" Something as dreamy as this really stuck around with a guy like myself simply for just what it was reaching out to be, I…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…