This is one of those films that makes me wish I had a time machine, so I could go back to 1961 and experience for myself how truly revolutionary it was then. Marienbad has been copied many, many times in the 50 years since its release, so watching it in 2011 does diminish the overall effect somewhat- there was a slight twinge of “been there, done that” that accompanied my viewing. This is not, however, a flaw of the film itself, and its spawning of countless imitators should stand as testament to the originality of Mr. Resnais’ ideas.

In an opulent European hotel, which may or may not be in Marienbad, we encounter a woman. She may or may not have stayed at this hotel last year, and she may or may not be married. She may or may not have engaged in an affair with another man, and she may or may not have agreed to run away with him in one year’s time. Conversations repeat themselves as if on an endless loop. Time appears fluid, and the environs are rife with logical and geographical impossibilities (in the still above, for example, the people cast long shadows while the trees and statues do not). The characters move and speak in robotic, unnatural ways, and often seem completely unaware of their surroundings. Confusing? Disorienting? Absolutely. Couple all of the above with gorgeous cinematography, costumes designed by Coco Chanel, and a sprawling, organ-based score, and you’ve got yourself a thoroughly intriguing (and thoroughly creepy) film. Whether Marienbad is a dream, reality, something in between, or none of the above is up for the viewer to decide. They don’t make ‘em like this anymore- except when they’re intentionally ripping it off.