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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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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)
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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:

Evocative, compelling, fascinating, different - an important motion picture, an exceptional work of art from the brilliant 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

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Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

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

Trivia

French visa # 23862. 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 L'année dernière à Montréal - ciné-poème (2013) See more »

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User Reviews

 
Darker and more sinister than is generally reckoned
17 September 2000 | by Dave GodinSee all my reviews

It would take a braver person than me to delineate what LAST YEAR AT MARIENBAD is `about', but as it is such an entirely thought provoking film, perhaps some sort of `meaning' can come from sharing these thoughts about it. Many people define it as cerebral and classical, but to me it is romantic and gothic. What is remarkable about the setting and the characters is that they are all so wealthy that they can rise above the concerns of ordinary mortals, only to find that this advantaged life brings other problems - of identity, purpose and values. They are strangely existentialist - the existentialism of great wealth - their small talk is intelligent, informed and stilted; they are all beautiful in the sense that money can partly buy beauty, and yet, in the process, they have lost human warmth, real sexual desire, and any purpose in life other than to drift on in their station in life. But desire is a respecter of nobody, and it is this element of human nature that haunts the corridors of the hotel like an invisible mist, and subconsciously their acutely civilised life-style which has bereaved them of something they no longer acknowledge or recognise and have deeply repressed - only to find it lingers on the fringes, confusing and disturbing them - spoiling everything; a depressive dissatisfaction. There is no joy, no enjoyment. The gardens become symbols of this desire to enslave, conquer and exile nature - formal, rigid and planned, and yet within the hotel, all around are decorative symbols of the chaotic and random aspects of nature. Everything appears to carry a symbol that needs to be interpreted - if it is there, it must have meaning, and if the Man says that they had arranged to elope together when they were at Marienbad, (or was it Marienbad, or elsewhere, and what does it matter?), how can the Woman be sure that this is not a ruse, made up to give immediate warning that we exile our emotions at our peril? That to acknowledge this for one second risks opening floodgates which will overwhelm and destroy? Or, that the ultimate expression of desire is death itself, as the film's closing line hints when the Man's voice speaks, over the night time silhouette of the hotel, of, `You.. and me.. together.. always.. in the night'. And it is an eternal night that we all subconsciously know lays in wait for us. The Great Leveller indeed! A remarkable film by any standards, and one which for me at least, is much darker and more sinister than has generally been recognised. But maybe it is just a springboard from which we can all set off on a journey guided by our own subconscious longings and dreads?


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