1961 ‘L'Année dernière à Marienbad’ Directed by Alain Resnais
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.
Last Year in Marienbad, 지난해 마리앙바드에서
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.…
Alienation: "a withdrawing or separation of a person or a person's affections from an object or position of former attachment," as the Merriam Webster dictionary defines it. The same source also defines the term "dream" as: a state of mind marked by abstraction or release from reality. Both terms' meanings carry an apt description that fits so perfectly well when talking about Alain Resnais's Last Year at Marienbad, for only one viewing can boggle the mind that one won't even know where to begin when talking about the sort of wonder it creates. But I've already watched Last Year at Marienbad numerous times and I'm still left with that befuddling emotion although I know deep down that it truly is…
bro u think u had this meaningful ~before sunrise~ moment last year at marienbad but she don't remember u...let it go
***One of the best 150 films I have ever seen.***
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…
An endlessly mysterious, intriguing and hypnotic film that blurs the lines between memory and imagination. The gorgeous cinematography with gliding camerawork, the overwhelming organ music, and the exquisite editing makes this such a spectacle to behold, those elements alone makes this a class for itself. The film can become quite difficult and impenetrable because of its surreal and looping structure and the puzzle-like story with missing pieces, but that's also what makes this so interesting, its open for multiple interpretations and I guess you'll look at it differently each time you watch it. Its a remarkable film that explores the possibilities of experimental and unconventional filmmaking, a deconstruction of cinema, and a subtly haunting experience that should be experienced with an open mind.
Why would we remember people we never met and interactions with them we never had?
Resnais rather cleverly goes about trying to film the space between fantasy and memory with this one, the spot on editing from Henri Colpi & Jasmine Chasney and the score by Francis Seyrig stand out to me as perfectly supporting the idea of the movie, but really everything here is working in beautiful tandem.
I think this may be so highly regarded simply because it's near impossible to not sympathise with at least one scene in this; regret and longing are things we all unfortunately feel at some point.
And this movie feels like that.
It’s as if the questions of who, what when, where, and why were made into a film — and yet somehow not answered.
After watching Last Year at Marienbad, I have no idea what happened last year at Marienbad, this year at Marienbad, or really any year at Marienbad, Frederiksbad or anywhere else mentioned in the movie. But I do know that I’m not supposed to know any of the answers. Alain Resnais’ film presents question after question without ever answering any of them. What, if anything happened last year? What is the significance of the play, and the constantly repeated phrases about corridors that seem to be part of it? Who took the picture of the woman? Is she always wearing black in the present and white in the past? Is this significant? How is it that the woman’s husband always wins…
This is what I think of when Rod Serling describes the Twilight Zone. These aren’t characters quite stumbling upon it, but chancing upon it again, and either not realizing or not accepting it.
It is beautifully crafted, though the composition and the editing, both of which illustrate a strong sense of isolation and dream states respectively. Solemn rich somnubalists wandering through a manse of almost mythical ambiguities.
Tall boi just slapping his dick around on the Male protag whenever possible. Male Protag desperate. For the woman, or for the sanity her validation of their supposedly shared past could bring. For the idea of her, a perfect lost love? Female protag. Even more an enigma than the rest.
Do they speak…
There’s enough her to unpack for at least a few days. Among the many theories I read after watching the film I believe that more than one of them is plausible. Without an interpretation this film successfully experiments with the medium in ways that have been copied but never successfully pulled off. I read that The Shining was inspired in part by Marienbad and some of the more terrifying parts of the latter remind me of Kubrick’s masterpiece.
It manages not to waste a second of its 94 minutes even with so many repeated phrases, lines, scenes and locations. And it can be so shocking at points. The gun fire was loud and the screams punctuated the quietest of scenes.…
A Nolan le encantaría hacer esto mismo, pero le pondría acción y respuestas.
(Buenísima).
Not sure I understood everything about this movie but the light & decor are so good!!
Obsessiveness and repetition of one's memories.The positive thoughts always trying to beat reality into submission and pushing back against the actualities of the situation. I'll never get tired of this film pulling the threads of narrative apart.
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