longstreth
26Mar12
Okay, I've made up my mind. I think I really did enjoy it.
Such a great camera work. The opposition of light and shadow thrills and mesmerizes and makes every shot a real masterpiece of visual art. As a matter of fact, the form prevails over the plot (still, Rob-Grillet's dialogues are fascinating. But they could have easily be different, and nothing would have changed.)
Yikes. I'm not even sure what to think about this film. I imagine this is the sort of thing my friends would find incredibly pretentious. As for me, I haven't quite decided whether it bored me or just made me think in a different way.
Alain Resnais' landmark has been praised and mocked almost in equal measure and I can't rationally explain the hold this film has over me, but it does. It's just magic. http://eddieonfilm.blogspot.com/2011/03/at-glance-it-seemed-impossible-to-lose.html
One of my favorites at last I have seen it on the big screen. 'Memory and desire stirring dull roots...' (TS Eliot, The Wasteland)
Es una película completamente de vanguardia, rompe con la narrativa cinematográfica común y a pesar de que es como un relato contado por una voz omnisciente, algo que pudiera caer en lo monótono, guarda cierto encanto visual. Las locaciones son muy buenas, un lugar muy barroco y el manejo de cámara es muy irregular, todo muy fuera del canon, no hay continuidad en las escenas, pero todo de manera premeditada.
An elliptical dream; geometry as nightmare; a hotel that holds inside it the whole world.
Ahh, a true classic French New-Wave film. To be honest, I didn't understand much, but I did enjoy it. It's almost hypnotic, with it's beautiful images, fancy music, and the somewhat strange performances form the actors.
If there were a special 6 stars rating option, I'd certainly give 6 stars to this film!
The dialogue, I mean hell, the whole narrative wore me out completely after the first hour, the film is so obsessive in its enclosed, adroitly delimited construction it's practically a vicious circle under the guise of a perfectly photographed romance/ghost(??) movie, and I'm 99% sure it will cause quite an impact on you.
Ambiguous, mysterious, and hypnotic; Last Year at Marienbad is an elegantly crafted piece of cinema. It's like a game, an intellectual puzzle, that shows the potential in film to deal with subject matters such as time, memory, and desire in ways that are distinctive and fascinating.
Holy shit ! What did I just watch for 90 minutes ? Not sure, but after about 20 minutes I totally got into the film and it has been on my mind since then. Need to see it again in the near future.
For the first half hour or so every instinct I had told me to turn it off. I'm glad I didn't listen to them.
The most non linear film I have ever seen. Beautiful shot and wonderfully crafter, just when you think you have it figured out, you back to square one again.
One of a kind...I must admit the beginning dragged a little, but Resnais and Robbe-Grillet slowly pulled me into the world of the nameless protagonists. There isn't and probably will never be another movie quite like this.
Rather like staring into a mirror that is then reflected by another mirror ad infinitum. A world like ours, where at once everything seems possible, although by the rules (limits) of nature hardly anything seems possible. The faulty memory. The fact that we can go on and on thinking up a meaning and then arrive back at a place of utter uncertainty. Epistemology through a mirror.
Beautiful in its aesthetic, poetic in its narrative. An incredible approach between memories, dreams and thoughts, which can confuse and alternate.
A unique film, a dream, a memory, a romantic history with the most innovative narrative structure I've ever seen.
Can't say I loved it, but goddamn it was really unlike anything I'd ever seen before. Very surreal and beautifully shot, despite perhaps one or two moments it also kept me interested the entire time. 4/5
Just as it is in dreams, there are no easy solutions to this film's puzzle. The film is the puzzle is the film. Last Year at Marienbad captures the surreality of dreams more than any film before or since. With each viewing I grow more appreciative of the art and architecture of Resnais and Robbe-Grillet's world. Sometimes I think I've figured it all out, only to come to the realization that it just doesn't matter.
It's very simple: the man and woman were in a relationship, and they were not. They were at Marienbad, and they weren't. Their relationship went bad, and it didn't. Everything is just what it is, and all anyone can do is experience it.