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...MAISON DE RENDEZVOUS, by Alain Robbe-Grillet. Translated by Richard Howard. 154 pages. Grove Press...

Author: /time Magazine | Title: Books: Is It a Book? Is It a Nightmare? | 12/2/1966 | See Source »

Reading this novel by Alain Robbe-Grillet is a good deal like going to sleep with a stomachache: the night won't be comfortable, but there'll be some gaudy dreams. In his first book in six years, Robbe-Grillet's dreamy act turns round and round a series of tremulously ambiguous scenes set in Hong Kong. There is an American named Ralph Johnson who may really be a titled Englishman or even a Portuguese entrepreneur dealing in hashish, opium and girls. He attends, or thinks he attends, or the narrator thinks he attends, a party given...

Author: /time Magazine | Title: Books: Is It a Book? Is It a Nightmare? | 12/2/1966 | See Source »

...advanced the moviemakers substantial quantities of war material, cordoned off large areas of Paris while the cameras were rolling, and sponsored the U.S. premiere. The producers for their part contributed a big budget and a vast cast: Jean-Paul Belmondo, Charles Boyer, Leslie Caron, Jean-Pierre Cassel, George Chakiris, Alain Delon, Kirk Douglas, Glenn Ford, Gert Frobe, Yves Montand, Tony Perkins, Simone Signoret, Robert Stack, Orson Welles...

Author: /time Magazine | Title: Cinema: Bcmg-l-Gotcha! | 11/25/1966 | See Source »

Actually, another major fault of the Fourth New York Film Festival was that the best films shown were those made by the best-known directors: Bresson, Jean-Luc Godard, Luis Bunuel, Alain Resnais, Adnes Varda. The Festival failed to screen any films of importance by unknown film-makers, and also little that won't be seen again. The box-office power of directors like Resnais and Godard will assure almost all of the Festival's films a theatrical release sooner or later...

Author: By Tim Hunter, | Title: NY Film Festival | 10/8/1966 | See Source »

...Alain Resnais's "La Guerre Est Finie" is a sombre and intellectual story of left-wing Spanish revolutionaries centered in Paris. Resnais has abandoned the strongly contrasting black-and-white tones of "Hiroshima Mon Amour" and "Last Year At Marienbad" in favor of low-contrast greys which deliberately reduce the effect of the plot's melodramatic content. Although the visual construction is simpler than that of "Marienbad" and "Muriel," Resnais does insert short scenes which represent the imagination of the hero, a tired revolutionary played brilliantly by Yves Montand...

Author: By Tim Hunter, | Title: NY Film Festival | 10/8/1966 | See Source »

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