Word: alaine
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Last Year at Marienbad. Alain Resnais, the grand admiral of the French New Wave, has produced a movie that is anything but a movie: a metaphysical enigma, a Platonic allegory, a treatise on cubistic cinema that attempts an Einsteinian revolution in the art of film, a Rorschach blot into which the spectator can project whatever he pleases...
Last Year at Marienbad (Astor), written by Novelist Alain Robbe-Grillet, the prophet of The New Dehumanism that is currently fashionable in French letters, and directed by Alain Resnais, the 39-year-old Frenchman who made Hiroshima, Mon Amour (TIME, May 16, 1960), has been bruited about Europe as a masterpiece of the cinema of ideas. It won the grand prize at the Venice Film Festival, and went on to do a brisk business all over the continent. Released now in the U.S., it promises to become the intellectual sensation of the cinema year, and to judge from pre-release...
...legitimate theater; they have done little more than photograph a play heightened in its vividness by close-ups, mob scenes, fast-paced cutting and all the other techniques worked out over the last fifty years. And Almost no one has created a film so uniquely a film as Alain Resnais (director) and Alain Robbe-Grillet (screenwriter...
...alitérature (non-literature) written by the so-called "anti-novelists" of France. Man is no longer viewed as an actor on the stage of life but as a microorganism, or atom, reacting to obscure laws of physics and biochemistry. Leaders of this movement are Nathalie Sarraute, Alain Robbe-Grillet, Marguerite Duras and Michel Butor, whose new book, Degrees, is perhaps the most complex anti-novel to date. For, by some mysterious aliterary law, the more schematic and mechanistic an author's view of life, the more complicated and device-ridden his style...
...Alain Resnais' remarkable directing skill creates the sense of order despite a chaotic time-sequence; but the film remains confusing, particularly because the psychological nuances of the plot are even more important than the actual order of episodes. As in other New Wave films, motives are never clear; the power of individual scenes always suggests uniting logic without really convincing the viewer that the logic even exists. Emmanuelle Riva and Eija Okada act with such persuasive emotion that the film is unified by their mere presence...