Word: grillet
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...years it has been the preoccupation of French novelists of the nouveau roman-Alain Robbe-Grillet, Mark Saporta, et al.73151;to build their fictions exclusively from facts, objects, appearances, surfaces and the impressions of the moment. Even when the method works, the result is long-winded; but it can have the illusionist beauty of pointillism that only makes sense as the onlooker steps back...
...Sensibility praised form and damned content. It was against interpretation and for an anesthetic revolution founded on the non-literary arts of music, painting, film and architecture. In its pantheon were Jasper Johns and John Cage, Roland Barthes and Jean-Luc Godard, Buckminister Fuller and Alain Robbe-Grillet...
...there are even more obvious sources for this facet of Resnais's direction. A film such as Marienbad calls to mind the subjective chronology of twentieth century experimental fiction. As in the novels of Robbe-Grillet, there is no progress; the past exists only as a conjecture, and the present only as a dream. The same event, with minor variations, is constantly recurring, ending in a number of ambiguously false denouements...
Last Year at Marienbad was the paramount example of this ideal director-writer relationship. Oddly enough, Resnais did not know Robbe-Grillet, and had read none of his books, before the producer suggested they try working together. Within a week after their first meeting, where they "agreed about everything," Resnais had read all of Robbe-Grillet's novels, and Robbe-Grillet had submitted four possible script projects. The writer and the director discovered themselves in each other's work: "I felt," explains Resnais, "that we had already made a film together." In the work on Marienbad which followed, visual...
Thus, although Resnais's own fascination with time pervades all his films, its handling varies according to the conception of the different script writers. Time in Hiroshima has the source of its order in the psychology of the main characters, whereas in Robbe-Grillet's Marienbad the order of time is more metaphysical than personal. Unlike either, Jorge Semprun's script for La Guerre est Finie demanded greater conventionality of form, with a focus on social reality rather than metaphysical complexity. In his treatment of time, then, Resnais peculiarly mixes continuity and flexibility...