For someone who never read Proust this film is quite hermetic, for those who read Proust this film is too obvious. Every character are an exaggeration, from Madame Verdurin who is unbearable irritating to Proust himself always "melancholic" and posing. Is a completely failed movie, still the love of Ruiz is so evident that somehow something could be rescued.
seria o mais comum dos filmes de ruiz se não houve uma revelação que pode se aplicar em toda sua obra e em como percebemos a vida- a expressão artística extrapola o tempo, sobrepondo camadas, fazendo possível, por um átimo de segundo, reviver com a mesma intensidade o que foi perdido
Une œuvre que seuls les "vrais lecteurs" de Proust saisiront pleinement… mais qui reste admirable dans tous les cas ! Avec sa mise en scène complexe et inventive, une magnifique reconstitution d'époque et un casting cinq étoiles, Ruiz a sans doute réalisé la meilleure adaptation à ce jour de la narration proustienne - mélange singulier de fiction et de souvenirs - tout en conservant son état d'esprit surréaliste.
Proust was never my guy. I love modernist lit but always found him bourgeois & cartoonishly sensitive, a tuberculoid Drake. Who else but Ruiz could've not only made this film but made it work for a guy like me? His passion for bizarre editing techniques & surrealist imagery mesh with Proust's decadent pain. The result is long, but never dull, unlike a certain unfinished seven-novel livejournal post.
Unbelievable cinematographic translation of a feverish confusion, memories clashing and prompting one another, I can't imagine this type of material to be adopted in a different way or a better way... I have to admit, I was tempted to give up about half-way - this film is definitely slow-burning, confusing and it requires some time and effort to "adjust", and once you tune-in what an unforgettable journey it becomes!
For many, Ruiz's most conventional film -an understandable objection- yet convention had to be brought into the narrative to capture a glimpse of Proust's magisterial work. Ruiz succeeds by dazzling visuals (his front-stage handling of objects is unsurpassed) and through highly competent acting by a great ensemble, he manages to subordinate the ravishing mise-en-scène to the a frozen time from a bygone era. Gorgeous!
Rivayet o ki, '' Saatleri Ayarlama Enstitüsü'' 'nün yazımına vesile olmuştur Proust, son 17 yılında yazdığı '' Kayıp Zamanın İzinde '' kitabının son kısımları temel alınarak çekilen '' Time Regained'' filmi, Angelopoulos'un '' Sonsuzluk ve Bir Gün '' incelikliğinde.Filme Tanpınar'ın şu dizeleri çok yakışırmış '' Ne içindeyim zamanın, Ne de büsbütün dışında;Yekpare, geniş bir anın,Parçalanmaz akışında''
35mm, rewatched, re-rated. Between the first time i saw it and now, i read Proust's magna opera and that was exactly the reason that led me to re-approach a film by a filmmaker of whom i very much care and a writer that i admire and, again i realize that the meeting is a failed one. On one hand, the recurrences of ideas and times through literary phrases can never find a cinematographic writing as an illustration...
The story is a snooze-fest, with bland characters. But the cinematography!!!! I was spellbound enough to forgive the ultimate filmmaking sin of a boring story. A story told through the perspective of one ever-hovering, levitating cloud, which we're all invited to take a ride on for the duration of the film.
As a gateway into Proust's mastery, an accessible biopic; his surrounding milieu of early 20th century French aristocratic life is authentically depicted. Superimposed apparitions, montages of time, an ellipsis of colliding memories, linearity playfully manipulated; the blur of each soirée, a canvas of aesthetic and sensory inception, even if it is not definitive in articulating his poetry beyond sight and sound. 3.5