Word: amours
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Dates: during 1960-1969
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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...
Both men seem to have transcended their past careers with this picture, finding in each other just the proper complement to their own failings. Resnais gained great fame by directing Hiroshima, Mon Amour. In it, he showed all sorts of technical ability with flashbacks and composition, but he never seemed able to integrate this talent with Marguerite Duras' rather somnolent script. Robbe-Grillet, on the other hand, wrote novels that yearned for visual expression. In La Jalousie, for instance, he spends most of his time painting in the very smallest details of a banana plantation. Amid the minutiae, the author...
Hiroshima, Mon Amour is a meeting of East and West, a document protesting war, and a carefully compassionate psychological study. Confusing, and sometimes hectic, it is also immensely impressive and moving. The New Wave film art, which it represents, expresses emotion in quick shots, jerky transitions, and skillful composition, which intensify individual scenes at the expense of untiy...
...olden times, the Brattle had a recording of the 1812 Overture, which was at least close to the proper emotions for a Bogey festival, but this fall, the horns will sound the spaces between the theatre's showings of Hiroshima Mon Amour, Black Orpheus, and even Can-Can. Variety is required: for the first of these three, Norman Dello Joio's Air Power Suite would no doubt suffice; a few bar's of Gluck might enliven the second; and Offenbach is the only answer for the third. Certainly other suggestions are possible, but continuing the present entr' acte offerings...
...begins a motion picture called Last Year in Marienbad, easy to smile at, difficult to understand, the work of one of the most acclaimed directors in modern cinema, the New Wave's Alain Resnais. Like his masterpiece, Hiroshima, Mon Amour, the new film compresses and realigns conventional treatment of time, making a looping bow of past and future and knotting it down on the present. Leaving relationships vague, carefully avoiding the usual structure of cause and effect, it tries to force audiences to interpret the story for themselves. Last week Marienbad was named winner of the 1961 Venice Film...