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>
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 »
I must have you alive. Alive, as you have already been every evening, for weeks, for months.
I have never stayed so long anywhere.
Yes, I know. I don't care. For days and days. Why don't you still want to remember anything?
You're raving! I'm tired, leave me alone!
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After hearing about this film countless times in various interviews and critics books *particularly interviews with Peter Greenaway* I finally decided to give it a shot. And this film has definitely shot into my top five films of all time overnight.
Resnais does a good amount of things in this film that he had tried in 'Hiroshima Mon Amour', but they are all done more effectively in this, his follow-up to Hiroshima. The way the characters interact with each other and with the audience is perfect on every level, driving the confusion of the situation further into your mind as well as the characters. The editing is flawlessly non-linear and non-traditional, the cinematography is some of the best of the period. The setting in the hotel often reminded me of Kubrick's 'The Shining', with the paranoid music and long tracking shots.
I would say the best way to describe this film is 'Hiroshima Mon Amour' with a good touch of Bunuel thrown in. It is intentionally bizarre and leaves much interpretation to the viewer, but never strays into idiotic territory. 9 out of 10.
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