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Last Year at Marienbad

Movie Information

In Brief:  World Cinema continues their monthlong Alain Resnais tribute with the director's enigmatic Last Year at Marienbad — a dreamlike fantasy about two people who may or may not have met "last year at Marienbad" meeting there again. It is by turns mesmerizing and maddening, but it is never less than fascinating. Its meaning has been open to debate for over 50 years. In itself that may be a barometer of its greatness.  
Score:

Genre: Surrealist Fantasy/Drama
Director: Alain Resnais
Starring: Giorgio Albertazzi, Delphine Seyrig, Sacha Pitoëff, Françoise Bertin
Rated: NR

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Expanded from my original review: I’ve spent years avoiding Alain Resnais’ Last Year at Marienbad (1961) — passively avoiding it, but avoiding it all the same. It simply didn’t sound like something I was likely to care for, and it never crossed my path, but when the folks at World Cinema decided to run it, I could avoid this art-house warhorse no longer. My initial response is that, whatever else it is, Last Year at Marienbad is unique and undeniably influential. It is certainly a departure from and is more adventurous than Resnais’ previous film, Hiroshima, Mon Amour (1959). There are traces of it (often strictly visually) in everything from Fellini’s 8 1/2 (1963) to Ken Russell’s Isadora (1966) to the weird fantasies of David Lynch and David Cronenberg. It’s been parodied — the scenes depicting Whispering Glades Cemetery in Tony Richardson’s The Loved One (1965) are both a parody and a reading of Marienbad — and mocked and copied and generally insinuated into the fabric of modern film. It is, in fact, the kind of art film that almost feels like parody of an art film at this point. (That much it shares with Hiroshima.)  But what is it on its own?

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The debate about what Marienbad means has been going on for nearly 50 years. According to Resnais, it either means nothing at all, or it means whatever the viewer sees in it. Profound? Perhaps. Illuminating? Not very. But I’m not sure its mysteries can be solved, nor am I convinced that a solution would be desirable. Its appeal, I think, lies in its absolute mysteriousness. (One might profitably investigate Henrik Ibsen’s play Rosmersholm for a clue to the film’s possible meaning, since the play — or a version of it — is being performed in the film.) The film is not hard to follow: A man and a woman keep having the same encounter over and over in a vast, baroque hotel. He insists they met “last year at Marienbad,” and that this year she agreed to run away with him. She says this never happened. A third man — who may be her husband — watches but not with any great interest, being more absorbed in a game (that came to be called the Marienbad game) at which he always wins (somewhat like Death with chess in The Seventh Seal). At first, the repetitive nature of the film is fascinating. Then it’s infuriating. Then it becomes mesmerizing — feeling like a kind of horror-picture nightmare from which you can’t wake up. Beautiful to look at and slightly absurd in its art-house pretensions, it’s somehow less a film than an experience, but then, isn’t that cinema?

Classic World Cinema by Courtyard Gallery will present Last Year at Marienbad Friday, April 11, at 8 p.m. at Phil Mechanic Studios, 109 Roberts St., River Arts District (upstairs in the Railroad Library).  Info: 273-3332, www.ashevillecourtyard.com

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About Ken Hanke
Head film critic for Mountain Xpress since December 2000. Author of books "Ken Russell's Films," "Charlie Chan at the Movies," "A Critical Guide to Horror Film Series," "Tim Burton: An Unauthorized Biography of the Filmmaker."

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