Smartorhypo Highly Overrated But Still Good

Solidrariol Am I Missing Something?

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Brooklynn There's a more than satisfactory amount of boom-boom in the movie's trim running time.

elvircorhodzic LAST YEAR AT MARIENBAD is a mystery drama. In short, it is an art experience and an experience of a life confusion at the same time.At a social gathering at a baroque hotel , a man approaches a woman. He claims they met last year at Marienbad. The woman insists they have never met. Their retrospectives, disorienting shifts of time, location and situation will additionally complicate an unclear relationship between the two of them...This movie is a strange trap for a curious mind of a viewer. No one can be indifferent to this story. This extraordinary experience, in which is very difficult to distinguish truth from fiction or waking from sleep is very confusing. It's a fact.This story is not an extreme stimulus for the human mind. This is an abnormal situation, in which the two confused people can not find each other. We are all part of one's passionate desire and imagination. We are all part of one's oblivion. However, desires and oblivion are connected in some situations. An affair between a charming man and a married woman is the ideal opportunity for such a relationship. The relationship between songs, shadows and rhythms. Both characters are inserted into the vortex of memories, envy, fantasies, emptiness and coldness of wealthy people.Scenery is a reflection of cold emotions and forgotten love. The narrative structure is like a dream, in which the images are changing very quickly while the consciousness of a man asking for an explanation, which constantly escapes from him.This movie does not have a clear point. I had watched a man, who out of love for a woman, revives a strange experience through a sea of unclear memories.

federovsky When they fail to see themselves as part of it, post-structuralists are missing the big structure. A film (or its creator) that aims to be so sophisticated that it can't be understood is only hiding its bourgeois banality beneath the surface. Let them, that's the art. This film is a game with no definitive solution, but by no means vacuous on that account. The purported vacuum is actually crammed with substance as the film plays on unreliable states of mind - memory, doubt, distrust, raising questions of sincerity, honour, even sanity.Superficially we have memory as the distance between two people. From evidence in his other work, it's tempting to assume that writer Robbe-Grillet intended the Stranger to be a kind of impostor. The Stranger describes details of events that he cannot know about, such as the woman's movements in her room. He spins an impromptu story about the figures in the statue and their dog. But the deception could equally be on her side - if she is afraid to remember, blocking an unpleasant memory.From another perspective, the man doesn't exist at all - he emerges from whispers seeming to seep from the fabric of the building itself. Fading in and out and repeated, these words are not of human origin, but brought into being by the memory of material things. Conjured into existence, Adam and Eve-like, they find themselves clinging to the worlds of their own phantom memories, his according to his desires, hers according to her fears, both of which displace reason or are displaced by reason. Underlying it all is the paranoia of uncertainty and lies, of not possessing, not winning. Built on this unreliable foundation, the past is born of a fabrication and elaborates gradually into something real. Memory can convince, as much as it can cast doubt.Just as the husband - a kind of magister ludi - cannot lose the game, the film also has things its own way, presenting two different realities like composited layers. Robbe-Grillet must have wanted these layers to clash like rocks, with percussive, discordant sounds effects, our illusions and prejudices fed by the uncertainty. Resnais, a humanist, made them blend serenely into each other, unable to resist reconciling the absurdity with some psychological sense and shape according to which the Stranger is sincere, the woman vulnerable.The psychology is largely environmental, everyone is reduced to a posture, turning into the statues that surround them, rigid with the lie of excessive formality, frozen by phatic conversation that is deliberately meant to avoid meaning. They shy away from the corporeality that implies baser qualities as they play the sophisticated game that has become their life.A game with no solution, a film with no key, ought to be quite disappointing. But existence never did have any clear answers. The fascination of it is in the uncertainty, and here, in the ambiguity.

writers_reign Although he'd been active in French cinema since 1947 Alain Resnais had the misfortune to make two landmark films during the short-lived so called New Wave hiccup which lasted something like four years from the late 1950s to the early 1960s but like Louis Malle, who began his own career at roughly the same time, and was tarred erroneously with the same brush, Resnais went on to become a highly distinguished mainstream filmmaker. One doesn't have to look far to see that Marienbad has little or no relationship to the dross being turned out by Godard and Truffaut; for one thing the genuine new waveleteers took misplaced pride in shooting on the street and making a movie for a stick of gum with friends and acquaintances handling most of the technical jobs, while from the very first frame it is evident that Marienbad employed top technicians to create and shoot the stunning effects, as well as spending lavishly on costume - every single person on screen, without exception, is in formal attire, tuxedos for the men, evening dress for the women, and groomed within an inch of their lives. This leaves us with the problematical screenplay by Alain Robbe Grillet but since I have no more idea than the regular film buff of what 1) it is about or 2) what it means I'm quite happy to let the Academic-Pseud axis compare orgasms, say that it's stunning to look at and leave it at that.

gavin6942 Taking place in a château, an ambiguous story of a man and a woman who may or may not have met last year at Marienbad.Is this film great or terrible? Some call it a masterpiece and others say it is pretentious and incomprehensible. I fall in the former category -- this was brilliant.The wild organ music is disorienting (in a good way), and how can you find fault with the incredible cinematography, with even white on white looking good and more than a touch of the surreal? As others have pointed out, in the garden, the couples cast long shadows but the trees do not. What to make of this? And the mirrors! The mirrors are used for both reflections and framing, sometimes both at the same time. Who cares if the couple really met?