IMDb > Muriel, or The Time of Return (1963)
Muriel ou Le temps d'un retour
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Muriel, or The Time of Return (1963) More at IMDbPro »Muriel ou Le temps d'un retour (original title)

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Overview

User Rating:
7.4/10   1,399 votes »
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Down 20% in popularity this week. See why on IMDbPro.
Director:
Writer:
Jean Cayrol (scenario and dialogue)
Contact:
View company contact information for Muriel, or The Time of Return on IMDbPro.
Release Date:
13 March 2007 (USA) See more »
Genre:
Plot:
In the seacoast town of Boulogne, Hélène sells antique furniture, living with her step-son, Bernard... See more » | Add synopsis »
Awards:
2 wins & 1 nomination See more »
User Reviews:
Ladies and gentlemen, the undisputed star of Muriel is... the editing. See more (13 total) »

Cast

  (in credits order) (complete, awaiting verification)

Delphine Seyrig ... Hélène Aughain
Jean-Pierre Kérien ... Alphonse Noyard
Nita Klein ... Françoise
Jean-Baptiste Thiérrée ... Bernard Aughain (as Jean-Baptiste Thierrée)
Claude Sainval ... Roland de Smoke
Laurence Badie ... Claudie
Jean Champion ... Ernest
Jean Dasté ... L'homme à la chèvre / The Goat Man
Martine Vatel ... Marie-Dominique, aka Marie-Do
Julien Verdier ... Le loueur de chevaux / The Stableman
Philippe Laudenbach ... Robert
Nelly Borgeaud ... La femme du couple d'acheteurs
Catherine de Seynes ... Angèle
Gaston Joly ... Antoine, le tailleur / Antoine the Tailor
Gérard Lorin ... Marc
Françoise Bertin ... Simone
Wanda Kerien ... La cliente (as Wanda Kérien)
Jean-Jacques Lagarde ... L'employé du casino
Paul Chevallier
Laure Paillette ... La cliente dans la rue
Robert Bordenave ... Le croupier / The Croupier
Éliane Chevet
Yves Peneau
Yves Vincent ... L'homme du couple d'acheteurs
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Directed by
Alain Resnais 
 
Writing credits
Jean Cayrol (scenario and dialogue)

Produced by
Pierre Braunberger .... co-producer
Anatole Dauman .... producer
 
Original Music by
Hans Werner Henze 
 
Cinematography by
Sacha Vierny 
 
Film Editing by
Kenout Peltier 
Eric Pluet 
 
Production Design by
Jacques Saulnier 
 
Costume Design by
Lucilla Mussini 
 
Makeup Department
Alexandre Marcus .... makeup artist
Éliane Marcus .... makeup artist
Janou Pottier .... hair stylist
 
Production Management
Michel Choquet .... unit manager
Philippe Dussart .... production manager
 
Second Unit Director or Assistant Director
Pierre Grunstein .... assistant director
Jean Léon .... assistant director
Florence Malraux .... second assistant director
 
Art Department
Charles Chieusse .... assistant art director
Georges Glon .... assistant art director
Charles Merangel .... set dresser
Michel Suné .... props
 
Sound Department
Antoine Bonfanti .... sound
Jean Gaudelet .... boom operator
Jean Nény .... sound mixer
Jean Philippe .... boom operator
 
Camera and Electrical Department
Philippe Brun .... camera operator
Jean Chiabaut .... assistant camera
Liliane de Kermadec .... still photographer
Elie Fontanille .... key electrician
Jean Harnois .... assistant camera
Richard Vasseur .... key grip
 
Costume and Wardrobe Department
Christiane Fageol .... wardrobe
 
Editorial Department
Claudine Merlin .... assistant editor
Svetla Pingova .... assistant editor
 
Music Department
Paul Colline .... lyricist: "Déja"
Georges Delerue .... additional music: "Sujuk Day"
Hans Werner Henze .... conductor
Paul Maye .... music: "Déja"
Rita Streich .... singer
 
Other crew
Sylvette Baudrot .... script girl
Suzanne Bujot .... assistant script
Jan Lenica .... titles
Jeanne Marie Olivier .... production secretary
 

Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
"Muriel ou Le temps d'un retour" - France (original title)
See more »
Runtime:
USA:115 min | USA:116 min | Brazil:112 min | France:117 min
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Movie Connections:
Soundtrack:
Sujux DaySee more »

FAQ

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18 out of 21 people found the following review useful.
Ladies and gentlemen, the undisputed star of Muriel is... the editing., 15 December 2006
Author: Asa_Nisi_Masa2 from Rome, Italy

I had never seen an Alain Resnais movie before. Despite the fact most of my IMDb friends had told me to start off with Hiroshima Mon Amour, I was more drawn to Muriel and chose it as my first taste of Resnais. In a nutshell: it was far more interesting thematically and cinematographically (also on a purely technical level) than it was enjoyable. I'm still very glad that I saw it, though. The most fascinating aspect of it was without doubt the montage, or editing. Rather than directing or acting, or even the screen writing, it was the editing that had the lion's share of the movie, as if it were its star. I cannot think of another movie where this is quite as apparent. Some of Muriel's style of editing felt like machine-gun-fire, being so relentlessly fast and aggressive in parts, but it was in my opinion very powerful and efficient in leaving an impression of "mental flashes". This emulated the nature of memory, which is the theme at the heart of an otherwise grim and pessimistic movie. Yet this darkness is masked by an appearance of everyday banality in a provincial town, making it all the more depressing, since it's easier to relate the melancholy at its core to one's own, everyday existence. Not for nothing, the movie was also set in winter, and nothing is quite as melancholy and nostalgic as a sea-side town off-season.

The last 10 minutes of the movie, more or less from the "revelation" at Hélène's Sunday lunch right to the moments in which the word "Fin" (The End) appeared on the screen, were the most powerful bout of cinematic caffeine I've experienced in a while. Until that moment I was starting to worry that the film was going nowhere too specific, or at least not somewhere that I understood or knew. Then came the final emotional earthquake, redeeming the movie tenfold, and I was virtually just as shocked as most of the characters in it.

OK, I'll admit I wasn't overly enamoured of the acting. With the exception of Delphine Seyrig playing Hélène, who succeeded in convincing me with her interpretation of the character as well as making me feel sympathetic towards her, the other players left me virtually cold. For a while I thought I'd like Nita Klein playing Françoise, then I started thinking that her character was pretty much redundant and should have been far more marginal than it actually was (and what was going on between her and Bernard anyway? That felt like a contrivance). Since I mentioned Bernard, played by Jean-Baptiste Thierrée, let me say that he was the character I was least convinced by. Quite frankly, I wasn't partial to the way the actor chose to bring him to life at all. Yet he and his drama - the traumas he'd experienced during the Algerian war, his witnessing the torture of an Algerian girl, the titular Muriel, which scarred him for life - was probably the heart and kernel of the movie! Jean-Pierre Kérien playing Alphonse, is the player that most viewers here seem to criticise. In my view there wasn't much else he could have done with the character, seeing as he was mostly a pretext for Hélène's tragedy. But in the last ten minutes of the movie Alphonse's raison d'être comes sharply to the forefront, thanks to the shocking revelation previously mentioned. It was Bernard that I expected more from acting-wise, I guess. Furthermore, the soundtrack was occasionally strident and annoying, perhaps trying to be an aural version of the editing. But while it worked on a visual level, the music's jarred quality was ultimately grating.

However, for the courage with which the movie tackled subjects which are best rendered in a novel form, for its successfully experimental editing, as well as its genuinely moving ending, I'll still award Muriel a pretty high score: 7.5/10 (it would have been 8 if the acting, not just from Seyrig, had been more accomplished).

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