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   1,505 votes »
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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:
One of the greatest films ever made; better than both 'Hiroshima Mon Amor' and 'Last Year At Marienbad;' Demands multiple viewings; difficult but ultimately magnificent and supremely satisfying See more (14 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

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

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:
DejàSee more »

FAQ

This FAQ is empty. Add the first question.
40 out of 48 people found the following review useful.
One of the greatest films ever made; better than both 'Hiroshima Mon Amor' and 'Last Year At Marienbad;' Demands multiple viewings; difficult but ultimately magnificent and supremely satisfying, 3 August 2000
Author: Aw-komon from Los Angeles, CA

The first time I saw 'Muriel' (it was, for years, extremely hard to find on video and only one video store carried it even in movie mecca L.A.) I was completely confounded by it. The radical presentation of the ordinary characters in the context of their transcendent thoughts and memories seemed to be uninteresting and bland, precisely because I hadn't thought of its connections to the universal. I didn't think it warranted any closer attention. But I knew there was something there I was uncomfortable with, I knew I had to come back to this film sometime and reassess it.

Needless to say, I am glad I made that reassessment because this is such an amazingly satisfying film, once all the pieces of the puzzle come togeher in your head in their subtle details. It is nearly flawless in conception and execution and has to be one of the supreme works of art this century. It works on more levels than any other film I can think of, even 'Pierrot Le Fou' and '8-1/2.' The difference is, almost all of it is hidden at first sight. You definitely have to pay UNDIVIDED ATTENTION and CONCENTRATE to start with, especially if you're reading the subtitles in English. Every word is there for a purpose and every shot counts. I'd suggest that you watch it (thank god it is now available on video and at such a reasonable price)at the bare minimum 3 times before you even presume to make a judgment. Here are only a few of the things I like about 'Muriel:' It is a thriller with many comic elements that ultimately becomes a sublime tragedy of modern existence. It has superb 'realism' in acting to beautifully contrast with what it's really about: the transcendent aspects of life such as memory and the way it and they (the other aspects) affect the present. The beautiful faded-tone, color photography is psychologically calculated (a definite influence on 'Red Desert') for effect and just indescribably poetic. The virtuoso, quick cutting in the middle section is completely chronological in nature but elegantly provides multiple perspectives without distorting things with unnecessary length (since all these things are going on pretty much at the same time).

I cannot recommend this film highly enough for anyone interested in great cinema.

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