Word: marienbad
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...Aime, Je T'Aime is a frosty movie about love, life and time travel directed by Alain Resnais. In Hiroshima Mon Amour and Last Year at Marienbad, Resnais evolved an elliptical style of editing that included streams of consciousness, unconsciousness and dreams, all edited so tightly that the audience had to shift rapidly between tenses and dimensions. This technique made his films intellectual teasers, but it also tended to weaken the rather fragile narrative line. The scenario of Je T'Aime has been almost completely overwhelmed. It was supposed to be a kind of comic-strip fantasy about...
...perhaps a hotel. It is a cold summer. Perhaps everyone is resting." Everything, in other words, is equivocal. The only certainty is that Destroy, She Said is a perfect cinema parody of the maddening affectations of the French anti-novelists. During vacation week at a hotel (no, not Marienbad) in the middle of a forest, Professor Henri Garcin is seduced by another woman (Catherine Sellers) as his young wife (Nicole Hiss) looks vacantly into the camera and does a lot of wondering about illusion and reality. She is consoled by a writer (Michel Lonsdale) who talks a lot about being...
...derision of U.S. movie moguls and their rampant commercialism, Pauline Kael is not an art-house snob. She prefers genuine American kitsch, if it has style and verve, to such avant-garde films as Hiroshima Mon Amour, Red Desert and Last Year at Marienbad ("the snow job in the ice palace"). Among her favorite directors are John Frankenheimer and Orson Welles, who provide "clean, fast pacing without the fancy stuff. It goes better with our national rhythm." A onetime experimental moviemaker in San Francisco, where she grew up and attended the University of California at Berkeley, she finds today...
...Grillet believes in the cult of impersonality. The "new novel," with which he made large literary waves during the '50s, said goodbye to psychology and presented people and their actions as reflected in surface appearances and objective happenings. In 1961 he wrote the haunting, memorable Last Year at Marienbad, a movie in which it was marvelously impossible to tell who (if anyone) was doing what (if anything) to whom, let alone...
...FEMALE," the New York Daily News said, "makes I A Woman look like Mary Poppins." In truth, it make Last Year at Marienbad look like The Great Escape...