Word: marienbad
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...lucky chance, Resnais and Robbe-Grillet collaborated on L'Annee Derniere a Marienbad. The novelist suffered from a geometric sense of detail, and the director had just the flair for composition to give those beautiful but boring paragraphs visual substance. Perhaps more important, the author's penchant for ambiguity lent itself perfectly to the director's much-praised deftness with flashbacks...
Just as there can be no correct answer which will leave the total experience unmarred for A and X, so too, Last Year at Marienbad will suffer no explanation without suffering destiaction. It creates an artificial world of enigma, a closed world that could exist in no form other than the fluid, puzzling...
...known only as "A" and "X" (Delphine Seyrig and Giorgio Albertazzi) and a second man, who is probably A's husband, but is identified simply as "M" (Sacha Pitoeff). For ninety-nine minutes, X tries to convince A that they had an affair last year at Marienbad in a plush resort hotel, but A can't seem to remember. Again and again, X corners A in the salons or the Versailles-like garden of the hotel where they are now staying (and also stayed a year before, says X) and retells some part of their supposed meeting of a year...
...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...
Sidewalk Spieler. In the main, the choice received respectful if somewhat bewildered applause. But Resnais and Novelist Robbe-Grillet, who wrote Marienbad's scenario, created more confusion than they had on the screen by arguing before the press about the meaning of their film. "This movie," said Robbe-Grillet, "is no more than the story of a persuasion, and one must remember that the man is not telling the truth. The couple did not meet the year before." Not so, said Resnais. "I could never have shot this film if I had not been convinced that their meeting...