IMDb > Marcel Proust's Time Regained (1999)
Le temps retrouvé, d'après l'oeuvre de Marcel Proust
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Marcel Proust's Time Regained (1999) More at IMDbPro »Le temps retrouvé, d'après l'oeuvre de Marcel Proust (original title)

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Overview

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Director:
Writers:
Marcel Proust (novel)
Gilles Taurand (scenario) ...
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Contact:
View company contact information for Marcel Proust's Time Regained on IMDbPro.
Release Date:
19 May 1999 (France) See more »
Genre:
Plot:
Marcel Proust (1871-1922) is on his deathbed. Looking at photographs brings memories of his childhood... See more » | Add synopsis »
Plot Keywords:
Awards:
2 wins & 2 nominations See more »
User Reviews:
Arguably the greatest adaptation of a classic; certainly the greatest film since CHUNGKING EXPRESS. See more (29 total) »

Cast

  (in credits order)

Catherine Deneuve ... Odette de Crecy

Emmanuelle Béart ... Gilberte

Vincent Perez ... Morel

John Malkovich ... Le Baron de Charlus
Pascal Greggory ... Saint-Loup

Marcello Mazzarella ... Marcel Proust

Marie-France Pisier ... Madame Verdurin

Chiara Mastroianni ... Albertine

Arielle Dombasle ... Madame de Farcy

Edith Scob ... Oriane de Guermantes

Elsa Zylberstein ... Rachel
Christian Vadim ... Bloch
Dominique Labourier ... Madame Cottard
Philippe Morier-Genoud ... Monsieur Cottard

Melvil Poupaud ... Le Prince de Foix

Mathilde Seigner ... Céleste
Jacques Pieiller ... Jupien
Hélène Surgère ... Françoise
André Engel ... Marcel Proust, vieux

Georges Du Fresne ... Marcel enfant
Monique Mélinand ... La grand-mère de Marcel
Laurence Février ... La mère de Marcel
Jean-François Balmer ... L'oncle Adolphe

Patrice Chéreau ... Marcel Proust (voice)
Pierre Mignard ... Marcel adolescent
Lucien Pascal ... Le Prince de Guermantes
Jérôme Prieur ... Monsieur Verdurin
Bernard Pautrat ... Charles Swann
Alain Robbe-Grillet ... Goncourt
Ingrid Caven ... La Princesse russe
Jean-Claude Jay ... Le Duc de Guermantes
Camille Du Fresne ... Gilberte, enfance
Alain Rimoux ... Monsieur Bontemps
Alain Guillo ... The Great Designer
Xavier Briere ... Marcel's butler
Bernard Garnier ... Cambremer
Monique Couturier ... Marquise de Villeparisis
Isa Mercure ... Madame Bontemps
Pierre-Alain Chapuis ... Guermante's butler
Jean-François Lapalus ... Café de la Paix's head waiter
Damien Odoul ... Gaspard (Café de la Paix's cook)
Daniel Isoppo ... Hotel manager, Balbec
Patrice Juiff ... Young waiter, Balbec
Pascal Tokatlian ... Hotel bellhop, Balbec

Marine Delterme ... Morel's friend
Jean Badin ... Rachel's husband

Laurent Schwaar ... Maurice
Messaoud Hattau ... Monsieur Léon
Alexandre Soulié ... Louis (military man)
Sébastien Libessart ... Military man #2
Fabrice Cals ... Workman at Jupien
Jean-Pierre Allain ... Workman at Jupien
Carl de Miranda ... Sailor at Jupien
Hervé Falloux ... Monsieur Redingote
Lou ... Speaker
Philippe Lehembre ... Général
Eric Vanzetta ... Officier
Rosita Mital ... Old maid
Tatie Vauville ... Old maid's mother
Michel Armin ... Distinguished client at Jupien
Pierre Vilanova ... Monsieur René
André Delmas ... Priest at Jupien
Philippe Gauguet ... Jupien's chauffeur
Serge Brincat ... Café de la Paix's waiter
Yann Claassen ... Military man, Cafe de la Paix
Bruno Guillot ... Military man, Cafe de la Paix
Emmanuel Crepin ... Military man, Cafe de la Paix

Francis Leplay ... Jupien's employee
Isabelle Auroy ... Madame de Sainte Euverte
Jacques-François Zeller ... Marcel's grandfather
Serge Dekramer ... Marcel's father
Suzy Marquis ... Old woman at Gilberte

Laure de Clermont-Tonnerre ... Gilberte's daughter
Georgette Bastien-Vona ... Madame de Marsantes
René Marquant ... Monsieur d'Argencourt
Laetitia Colom-Vialazeix ... Lea
Maxime Nourissat ... Léo
Romain Sellier ... Charles' friend, Cafe de la Paix
Pierre Pitrou ... Photographer
Alexandre Boussat ... René (Morel's friend)
Sheila Trubacek ... Vicomtesse de Saint-Fiacre
Bernard Barberet ... One-legged man
Diane Dassigny ... Pianist, Bal de Tête
Guillaume Choquet ... Violinist, Bal de Tête
Alain Duclos ... Uncle Adolphe's valet
Manuela Morgaine ... Reader
Christian Magis ... Blind Man
Daniel Beretta ... Baron (voice)
rest of cast listed alphabetically:
Paola Comis

Directed by
Raoul Ruiz 
 
Writing credits
Marcel Proust (novel)

Gilles Taurand (scenario) and
Raoul Ruiz (scenario)

Produced by
Paulo Branco .... executive producer
Massimo Ferrero .... associate producer
Leo Pescarolo .... associate producer
Philippe Saal .... line producer
 
Original Music by
Jorge Arriagada 
 
Cinematography by
Ricardo Aronovich 
 
Film Editing by
Denise de Casabianca 
 
Casting by
Richard Rousseau 
 
Production Design by
Bruno Beaugé 
 
Costume Design by
Caroline de Vivaise 
Gabriella Pescucci 
 
Makeup Department
Anny Arguedas .... hair stylist
Michèle Auge .... hair stylist
Muriel Baurens .... makeup artist
Sidonie Constantien .... hair stylist (as Dominique Constantien)
Joëlle Dominique .... hair stylist
Nadine Dumas .... hair stylist
Maryse Faure .... hair stylist
Bernard Floch .... makeup artist
Cédric Gérard .... makeup artist
Sophie Landry .... makeup artist
Christine Leaustic .... key hair stylist
Catherine Leblanc .... hair stylist
Isabelle Legay .... hair stylist
Benoît Lestang .... key makeup artist
Teresa Montero .... trainee hair stylist
Agnese Panarotto .... hair stylist: Italy
Emmanuel Pitois .... special makeup effects artist
Dominique Plez .... key makeup artist (as Dominique Henri Plez)
Sandrine Roman .... makeup artist
Tiziana Sisi .... makeup artist: Italy
Hervé Soulié .... key makeup artist
Jacqueline Stuffel .... key hair stylist
Marie-France Vassel .... makeup artist
Catherine Vrignaud .... makeup artist
 
Production Management
Elisabeth Bocquet .... production manager (as Elizabeth Bocquet)
Marc Cohen .... assistant unit manager
Didier de Keyser .... production manager
Rita del Chappa .... production manager: Italy
Ludovic Dupon .... unit manager (as Ludovic Dupont)
Mathieu Lévy .... unit manager
Olivier 'Jones' Michel .... unit production manager
Olivier Michel .... assistant unit manager
David Mitnik .... production manager
Antoine Moussault .... unit production manager
 
Second Unit Director or Assistant Director
Eric Agopian .... assistant director
Antoine Beau .... assistant director
Roman Coolen .... trainee assistant director
Julia Dahan .... trainee assistant director
Shana Hubert .... trainee assistant director
Guillaume Roitfeld .... assistant director
 
Art Department
Philippe Archambeau .... assistant set decorator
Christian Bamberger .... construction coordinator
Eric Blanc .... assistant set decorator
Fabrice Bourderioux .... swing gang
Dominique Corseaux .... construction coordinator
Sabine Ehrmann .... trainee upholsterer
Lucien Eymard .... property master
Odile Hubert .... upholsterer
Gil Mas .... first assistant set decorator
Éric Munier .... construction coordinator
Françoise Pierre .... painter
Francine Robillard .... sculptor
Stéphane Vercraene .... assistant set decorator
 
Sound Department
Élisabeth Couque .... sound mixer
Yvan Dacquay .... assistant sound engineer
Laurent Dreyer .... post-production sound engineer
Dominique Eyraud .... assistant sound engineer
Vincent Guillon .... supervising sound editor
Judith Guittier .... foley artist
Mireille Hannon .... assistant sound editor
Philippe Jantet .... sound assistant
Jean-Charles Martel .... post-production sound engineer
Fred Mays .... post-synchronisation
Pascal Mazière .... foley artist
Philippe Morel .... sound
Gérard Rousseau .... sound mixer
Corinne Rozenberg .... sound editor: second unit
Nathalie Vidal .... assistant sound mixer
Olivier Villette .... sound assistant
 
Camera and Electrical Department
Brice Berrier .... grip
Stéphane Birzin .... grip
Julien Bony .... electrician
Olivier Bory .... first assistant camera
José-Maria Branco .... electrician
Eric Caro .... still photographer
Claudio Del Gobbo .... grip: Italy
Nicolas Eon .... grip
Sabine Lancelin .... camera operator
Nicolas Le Gal .... electrician
Nicolas Legaz .... trainee electrician
Christian Magis .... chief electrician
Olivier Martin .... key grip
Raphaël O'Byrne .... second assistant camera
Constanza Ott .... second assistant camera
Luis Peralta .... electrician (as Luis Manuel Peralta)
Stefano Proietti .... electrician: Italy
Luc Rondeau .... electrician
Massimo Spina .... grip: Italy
Laurent Usse .... additional grip
 
Casting Department
Guglielmo Diego .... extras casting: Italy
Renaud Gonzalez .... extras casting
Adriana Sabbatini .... casting: Italy
Marion Touitou .... extras casting
 
Costume and Wardrobe Department
Gilles Bodu-Lemoine .... assistant costumer
Renata Bucz .... assistant costumer
Massimo Cantini Parrini .... assistant costume designer
Robert Isaac .... costumer
Alessandro Lai .... chief costumer
Virginie Le Metayer .... costumer
Sophie Lebret .... costumer
Adriana Mattiozzi .... costumer: Italy
Latifa Medjdoub .... dress maker
Nicole Meyrat .... dress maker
Béatrice Moreau .... chief dress maker
Gil Noir .... costumer (as Gilette Noir)
Eric Perron .... chief costumer
Fabio Perrone .... chief costumer
Louise Rapp .... costumer
Sophie Rapp .... trainee costumer
Germaine Ribel .... costumer
Lydie Régnier .... trainee costumer
Patricia Saalburg .... chief costumer
Frédérique Santerre .... costumer
Anne Scornet .... assistant costumer
Anne Thiellement .... dress maker
Jean-Pierre Villeneuve .... assistant costumer
 
Editorial Department
Fabrice Dequeant .... color timer
Marie-Claire Duboc .... negative cutter
Isabelle Fabian .... negative cutter
Colette Kassabian .... negative cutter
Isabelle Roudy .... trainee assistant editor
Patrice Séverac .... post-production coordinator
Julie Verdoux .... assistant editor
 
Transportation Department
Laurent Duhaut .... driver
Fabrice Leguedois .... driver
France Neuman .... driver
Aldo Rocchi .... production driver: Italy
Tewfik Saad .... driver (as Tewfick Saad)
 
Other crew
Alberte Barnbou .... double: Elsa Zyberstein (aged)
Fabienne Beaudeau .... production administrator
Stephane Beissy .... production controller
Raymonde Bronstein .... double: Emmanuelle Béart (aged)
Stéphanie Bénitah .... assistant location manager
Barbara Constantine .... script supervisor
Marielle Duigou .... production assistant
Vanessa Ferrero .... general administrator: Italy
Léonard Glowinski .... financial director
Betty Greffet .... script trainee
Fabienne Kaufman .... production assistant
Madeleine Lechoux .... double: Marie-France Pisier (aged)
Jean Léger .... double: André Engel
Marcel Mazoyer .... chief technician
Giancarlo Moscato .... assistant administator: Italy
Laura Pasquarelli .... production administrator: Italy
Charles-Edouard Renault .... legal counsel
Julien Sabourdin .... production accountant
Julien Sabourdin .... production administrator
Gérard Sionneau .... groupman
Alfonso Varela .... documentation
Valentina Vieri .... assistant administrator: Italy
 
Thanks
Nathalie Bloch-Lainé .... thanks: Canal+
Patrick Harrel-Coutes .... thanks
Pierre Héros .... thanks: France 2 Cinéma
Pierre Lescure .... thanks
 

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Additional Details

Also Known As:
"Le temps retrouvé, d'après l'oeuvre de Marcel Proust" - France (original title)
See more »
Runtime:
Argentina:158 min | France:169 min | Taiwan:158 min | UK:162 min | Canada:162 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Canada:PG (Ontario) | France:U | Germany:12 | Hong Kong:IIB | Portugal:M/12 | Singapore:PG | Sweden:15 (TV rating) | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:18 (original rating) | UK:15 (re-rating) (2010)
Filming Locations:

Did You Know?

Movie Connections:
Soundtrack:
Le temps retrouvé (Vocalise)See more »

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25 out of 39 people found the following review useful.
Arguably the greatest adaptation of a classic; certainly the greatest film since CHUNGKING EXPRESS., 16 February 2000
Author: berthe bovy (hitch1899_@hotmail.com) from paris, france

At long, long last. In a year of false hopes and broken promises, here is the real thing, a genuine cinematic masterpiece that after one viewing you've only read the introduction. It's everything that art-house cinema is accused of - elitist, over-intellectual, precious, elliptical, methodically paced, privileging mise-en-scene over virtues like plot or motivated characterisation. It is also a model of literary adaptation that will hopefully, once and for all, put certain practitioners out of business; the most visually astonishing (not in the sense of merely beautiful, but achieving effects you didn't think possible), funny and emotional film in years, and the first new film I've wanted to squeeze to my heart since CHUNGKING EXPRESS.

In one way at least, it's even an improvement on Proust's sublime novel, which frequently breaks off to offer remarkable guides on how to write and to live life. These are indispensable to anyone who wants to exist to the full as a human being, but, uncorrected when Proust died, they are often wearingly repetitive and confused.

Ruiz finds economical, jaw-dropping, incisive ways to show what Proust wanted to say. Because this isn't anything so common as a film of the book - it is an interpretation, a deconstruction, a reimagining. Proust, like Nabokov, sets traps for the unwary reader, and because the narrator seems so convincingly Proustian in the detail, it's easy to confuse him with Proust in the spirit. But M. is a deeply flawed, unreliable narrator who does not always see what's in front of him, who, riven by jealousy, prejudice, snobbery, malady and self-laceration, is not always the most objective observer.

Ruiz emphasises this by foregrounding the seeming differences between himself and Proust as artists: Proust advocates an active, conscious reclamation of ourselves and our pasts; Ruiz, a Surrealist, explores the Unconscious. Proust was the most notorious rewriter in the history of literature, every sentence subjected to the most rigourous scrutiny, yet he died without fully revising Le Temps Retrouve. This leaves the text filled with gaps, omissions, contradictions, 'mistakes', slips, an ultimate loss of control - the perfect ground for a Surrealist excavation.

Ruiz reveals M.'s essential powerlessness, his yielding to the power of the Unconscious; M. thinks he makes a decision to discover the past; Ruiz shows from the very beginning of the film, how he has no choice.

What Surrealism does best is to show the terrifying instability of the seemingly stable, everyday, domestic, fixed. This fits in with Proust's project, because his stepping outside of Time shows how amorphous Time is. A centuries-old society, with huge mansions and manors, inhabited by fixed personnages with fixed names and personalities, in a significant period (the Belle Epoque giving onto World War One) is actually shown to be deeply unstable, perceived as it is though the mind of M., who is constantly changing - his social status his body (through sickness), his self-perception and view of the world and of literature etc.

The opening sequence is masterly illustrative. The real Proust lies in the near-dark in bed, wheezingly ill, reciting his work to his faithful servant, Celeste. Here is an image of wholeness, fact, legend - a great writer writes his great book. But the scene is riven with instability: Proust lies immobile in his bed, while his objects and ornaments move freely around the room.

This is a motif that reverberates throughout the film, the elegant freedom of the dominating, crowding bibelots, and the rigid, sterile, geometrical movements of the people who are supposed to own them. But it also shows a heartening split between mind and body: while the latter lies inert and dying, the former remains vibrant and transformative.

Where to begin with Ruiz's awe-inspiring masterwork? The sublime play with mirrors and cameras, revealing great truths about perception, deception, mediation, objectivity, subjectivity, revelation and concealment? The play of different selves throughout the film, where the monstrously aged, through memory, can return to their former beautiful selves, culminating in an astonishing climactic sequence where M. in his three guises (protagonist/narrator of the film (even this is split, narrated in voiceover by a different person), the author of the book-film, and himself as a young man that allows the other two to exist) as he wanders, Alice-like (a haunting, Surrealist presence thoughout the film) through the classical ruins of time, linked to the impossibility of one, fixed work of art?

The complex analysis of role-play, on the one hand liberating one from a fixed self, on the other repressing one (in terms of social positoin, reputation etc.)? The role of of reenactment in the recovery of the past, and its transmutation through subjective perception? The subtle changes and omissions that Ruiz deliberately employs to interrogate the emphasis of Proust's work? The connection between voyeurism (existing in a society like being imprisoned in a panopoticon), and the necessary observation of the artist to reveal truth?

Ruiz's canny casting, emphasising allusive qualities, e.g. mother and daughter Deneuve, and a hero played by a man with a similar name to their lover/husband? Alain Robbe-Grillet, doyen of formal games in country houses? Edith Scob, Franju muse of broken, fragile beauty, playing dessicated Oriane? the link between the narrator, director Patrice Chereau, and two of the film's stars who have also appeared in one of his films?

The profusion of different artforms which combine to create a moment of such great emotion that I, with M. cried? The teasing play between the protagonist, his creator and this film's creator? The amusing variations on the theme of prostitution? The film's action actually only consists of three elaborate episodes, but the plot floods with the past and the future, the real and imagined, the fictional and historical (or, more correctly, meta-fictional), theory and practice.

It should not be forgotten that there are other, simpler pleasures beloved of historical-film fans - the country-houses with their astonishing avenues; the town mansions with their vast halls; the choreography of the party scenes; the sublime costumes; the elaborate recreation of a time and place. The film is very funny as well as deeply emotional, and though pawns in a Surrealist game, the wonderful actors reveal great depth, although Marcello Mazzerella stands out as a hero more sympathetic than Proust's. But it is Ruiz who is the real star, locating the hidden meaning of the book with startling, disturbing, enigmatic, elegantly polished images, as well as a rare ravishing feel for both nature and artifice.

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