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MURIEL. France's Alain Resnais (Hiroshima, Man Amour, Last Year at Marienbad) embarks on an original, ambitious but ultimately tiresome trip down memory lane, with Marienbad's luminous Delphine Seyrig in brilliant form as an aging widow who yearns to recapture a long-lost love...

Author: /time Magazine | Title: Television, Theater, Cinema, Books: Nov. 22, 1963 | 11/22/1963 | See Source »

...novel Thérèse Desqueyroux and tells it in old-fashioned cinematic style. It is literate, formal, filmed with impeccable taste. It captures the dark spirit of Mauriac's novel almost too perfectly. Best of all, in Emmanuèle Riva (star of Hiroshima, Mon Amour) it has a vivid Thérèse, that young woman so desperate to escape "the slow, sure, horrible suffocation of provincial life" that she poisons her husband...

Author: /time Magazine | Title: Cinema: High-Power Potion | 11/22/1963 | See Source »

...best friend and driven the husband's auto-racing teammate to suicide. This time out, they notice a lissome young schoolteacher. The wife befriends the girl, brings her home, immediately begins to preen her as a morsel to renew hubby's flagging appetite for l'amour...

Author: /time Magazine | Title: Cinema: High-Proof Perfume | 11/22/1963 | See Source »

Muriel, for all its flaws, is another absorbing exercise in style by Director Alain Resnais, master hand of the new French cinema. Hiroshima, Mon Amour, which wove past and present into a breathless idyl snatched from the ashes of war, was followed by the romantic, enigmatic Last Year at Marienbad. Now, in Muriel, Resnais plunges into the labyrinthine corridors of memory, suggesting much, saying little, rarely glancing behind to see whether his audience is keeping up with him-as not much of it will...

Author: /time Magazine | Title: Cinema: Too Much Remembered | 11/15/1963 | See Source »

...vigorous and original creators who live and work in every quarter of the globe. At the heart of the new movement is a hardy little band of inspired pioneers: Japan's Akira Kurosawa (Rashomon); Sweden's Ingmar Bergman (Wild Strawberries); France's Alain Resnais (Hiroshima, Man Amour) and Francois Truffaut (The 400 Blows); Italy's Federico Fellini (La Dolce Vita), Michelangelo Antonioni (L'Avventura) and Luchino Visconti (Rocco and His Brothers); England's Tony Richardson (Look Back in Anger); Poland's Andrzej Wajda (Kanal) and Roman Polanski (Two Men and a Wardrobe); Argentina...

Author: /time Magazine | Title: Cinema: A Religion of Film | 9/20/1963 | See Source »

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