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Last Year at Marienbad (1961)

L'année dernière à Marienbad (original title)
Not Rated | | Drama, Mystery | 7 March 1962 (USA)
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2:12 | Trailer

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In a strange and isolated chateau, a man becomes acquainted with a woman and insists that they have met before.

Director:

Alain Resnais

Writer:

Alain Robbe-Grillet (scenario and dialogue)
Reviews
Nominated for 1 Oscar. Another 2 wins & 3 nominations. See more awards »

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Cast

Complete credited cast:
Delphine Seyrig ... A - la femme brune
Giorgio Albertazzi ... X - l'homme à l'accent italien
Sacha Pitoëff ... M - l'autre homme au visage maigre, le mari
Françoise Bertin Françoise Bertin ... Un personnage de l'hôtel
Luce Garcia-Ville Luce Garcia-Ville ... Un personnage de l'hôtel
Héléna Kornel Héléna Kornel ... Un personnage de l'hôtel
Françoise Spira Françoise Spira ... Un personnage de l'hôtel
Karin Toche-Mittler Karin Toche-Mittler
Pierre Barbaud Pierre Barbaud ... Un personnage de l'hôtel
Wilhelm von Deek Wilhelm von Deek ... Un personnage de l'hôtel
Jean Lanier Jean Lanier ... Un personnage de l'hôtel
Gérard Lorin Gérard Lorin ... Un personnage de l'hôtel
Davide Montemurri Davide Montemurri ... Un personnage de l'hôtel (as Davide Montemuri)
Gilles Quéant Gilles Quéant ... Un personnage de l'hôtel
Gabriel Werner Gabriel Werner
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Storyline

In a huge, old-fashioned luxury hotel a stranger tries to persuade a married woman to run away with him, but it seems she hardly remembers the affair they may have had (or not?) last year at Marienbad. Written by Otto Oberhauser <Oberhauser@cc.univie.ac.at>

Plot Summary | Plot Synopsis

Taglines:

It Has The "Marienbad Look" See more »

Genres:

Drama | Mystery

Certificate:

Not Rated | See all certifications »
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Details

Country:

France | Italy

Language:

French

Release Date:

7 March 1962 (USA) See more »

Also Known As:

Last Year at Marienbad See more »

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Box Office

Opening Weekend USA:

$19,113, 20 January 2008, Limited Release

Gross USA:

$143,381, 10 August 2008
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

One of the films included in "The Fifty Worst Films of All Time (And How They Got That Way)" by Harry Medved and Randy Lowell. See more »

Goofs

Exterior night scenes were shot day-for-night, but the sky and reflections of it were allowed in the frame, and they appear as bright white instead of black. This may have been intentional to emphasize the surreality of the film. See more »

Quotes

[X wanders through the hotel's corridors cataloging items he sees]
X: Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.
See more »

Connections

Referenced in Level Five (1997) See more »

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User Reviews

The Persistence of Memory
13 June 1999 | by wperkinsSee all my reviews

The title of Dali's best known work is an apt description of this film. A man meets a woman at a European spa and tries to convince her (and himself) that they met one year ago. While the plot is simple, its presentation is not. I first saw L'annee derniere a Marienbad while taking a French Film class in college. Of the dozen or so films we watched, Marienbad has stayed with me the longest. The nameless protagonist's memories repeat, sometimes minutely changed, sometimes not. The same organ motifs echo again and again, all against the backdrop of elegant hallways and sitting rooms. Through all this, the man attempts to spirit the woman away from her husband/companion, while at the same time establish once and for all what happened last year and what did not. More than any other film, Marienbad has shown me the difference between American film conventions and what else is possible. While so many American releases are rigidly plot driven, Marienbad uses film as a tool for exploration and introspection. Instead of linear story telling, director Resnais allows his characters to explore the details of what may be memory or just imagination. Against a detached, almost stoical background of extras and cool interiors, Delphin Seyrig and Giorgio Albertazzi display a sharp contrast of passion, pleading, and denial. I agree with a previous reviewer that much of the look of Marienbad has been appropriated by commercials for perfume; however, if you haven't seen this film before, you most likely have never seen anything quite so surreal.


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