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Muriel

Original title: Muriel ou le temps d'un retour
  • 19631963
  • Not RatedNot Rated
  • 1h 55m
IMDb RATING
7.1/10
3.4K
YOUR RATING
Muriel (1963)
Drama
In the seaside town of Boulogne, no one seems to be able to cope with their past, least of all Hélène, an antique furniture saleswoman, her stepson Bernard, and her former lover Alphonse.In the seaside town of Boulogne, no one seems to be able to cope with their past, least of all Hélène, an antique furniture saleswoman, her stepson Bernard, and her former lover Alphonse.In the seaside town of Boulogne, no one seems to be able to cope with their past, least of all Hélène, an antique furniture saleswoman, her stepson Bernard, and her former lover Alphonse.
IMDb RATING
7.1/10
3.4K
YOUR RATING
    • Alain Resnais
    • Jean Cayrol(scenario and dialogue)
  • Stars
    • Delphine Seyrig
    • Jean-Pierre Kérien
    • Nita Klein
    • Alain Resnais
    • Jean Cayrol(scenario and dialogue)
  • Stars
    • Delphine Seyrig
    • Jean-Pierre Kérien
    • Nita Klein
  • See production, box office & company info
    • 18User reviews
    • 31Critic reviews
  • See production, box office & company info
  • See more at IMDbPro
    • Awards

    Photos149

    Muriel (1963)
    Muriel (1963)
    Muriel (1963)
    Muriel (1963)
    Delphine Seyrig in Muriel (1963)
    Muriel (1963)
    Delphine Seyrig in Muriel (1963)
    Julien Verdier in Muriel (1963)
    Delphine Seyrig in Muriel (1963)
    Delphine Seyrig and Jean-Baptiste Thiérrée in Muriel (1963)
    Catherine de Seynes in Muriel (1963)
    Gaston Joly in Muriel (1963)

    Top cast

    Edit
    Delphine Seyrig
    Delphine Seyrig
    • Hélène Aughain
    Jean-Pierre Kérien
    Jean-Pierre Kérien
    • Alphonse Noyard
    Nita Klein
    Nita Klein
    • Françoise
    Jean-Baptiste Thiérrée
    Jean-Baptiste Thiérrée
    • Bernard Aughain
    • (as Jean-Baptiste Thierrée)
    Claude Sainval
    Claude Sainval
    • Roland de Smoke
    Laurence Badie
    Laurence Badie
    • Claudie
    Jean Champion
    Jean Champion
    • Ernest
    Jean Dasté
    Jean Dasté
    • L'homme à la chèvre…
    Martine Vatel
    Martine Vatel
    • Marie-Dominique, aka Marie-Do
    Julien Verdier
    Julien Verdier
    • Le loueur de chevaux…
    Philippe Laudenbach
    Philippe Laudenbach
    • Robert
    Nelly Borgeaud
    Nelly Borgeaud
    • La femme du couple d'acheteurs
    Catherine de Seynes
    Catherine de Seynes
    • Angèle
    Gaston Joly
    Gaston Joly
    • Antoine, le tailleur…
    Gérard Lorin
    • Marc
    Françoise Bertin
    • Simone
    Wanda Kerien
    • La cliente
    • (as Wanda Kérien)
    Jean-Jacques Lagarde
    • L'employé du casino
      • Alain Resnais
      • Jean Cayrol(scenario and dialogue)
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      This film is part of the Criterion Collection, spine #824.
    • Connections
      Featured in Whiplash (2014)
    • Soundtracks
      Dejà
      By Paul Colline and Paul Maye

      (RAOUL BRETON éditions)

    User reviews18

    Review
    Review
    Featured review
    7/10
    Politics and perception
    Some decades before Haneke's 'Cache' once more centralised the trope of Algeria-guilt amongst the bourgeoisie, 'Muriel' is less a polemical allegory-and less marked by immigrant experience-and more a kind of spider's web of implication, its critique of French conduct in Algeria constructed as a kind of puzzle which is only really a puzzle if we ignore those political truths hiding in plain sight-which is precisely the point. Haneke is concerned to reveal his cards half-way through the film-it's important that one *get* and *absorb* a message. Likewise, in Muriel, the account of torture committed by the ex-soldier now returned to Boulogne-sur-Mer plays out at the half-way point. But for Resnais and scriptwriter Jean Cayrol, to whom the film equally owes its striking detail and shape, form and message are imbricated in closer ways. Likewise, compared to other experiments with narrative within avant-garde cinema of the period-including Resnais' own-here, complexities of perception rendered through avant-garde technique may reflect existential questions of memory, desire and so on, but more precisely, they serve a political purpose. As in Demy's Parapluies de Cherbourg the following year, the film's critique of French conduct in Algeria is presented as both motor to and peripheral figure / irritant within what is in some ways a love story. But there are no Michel Legrand songs here, no bright-burning neon glow, no dwelling in sentiment: the film is analytical, critical, clipped, dense. The constructs of desire, loss, the attempt to regain past intimacy, told in half-finished stories, never-received letters, interrupted monologues, the constant unspoken-the evasions and illusions of romantic love-are open secrets around which the lovers tip-toe, traipse and on which they trample, while the Algerian conflict is imbricated within the social fabric of a particular town, and, metonymically, the broader society in which it has its place. Of particular interest for the film is the way that the community of that town is constructed through a mixture of the repressed memory of trauma (the second world war and national service in Algeria-attack by or complicity with fascist occupation domestically and participation in colonial violence abroad), the militarist underlay of the business world, of Gaullism, of particular modes of masculine identity. The clipped precision of the film's extreme fast-cutting turns editing at once almost hallucinatory in its flashes of distorted logic and extraordinarily precise in its planned juxtapositions: the trope of mystery-who is Muriel? What happened in Algeria? What happened to break apart the now elderly lovers reunited in a web of half-truths, half-desires, and deceit?-a diagnostic frame at once personal and social. Resnais may suggest that film itself-at least, as conceived of as a repository of direct truth, the authenticity of visual experience-is inadequate: as when the young ex-soldiers' Algerian footage literally burns up in the projector when exposed to the light. But film, understood differently-for its challenge to, its going against the grain of perception-provides the shock to the habituated dailiness of looking so that an antique table, the door to a café, a walk around town, the assassination of a far-right terrorist, flicker and bunch up together like a terrible revelation of what lies beneath.
    helpful•2
    0
    • dmgrundy
    • Sep 13, 2020

    Details

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    • Release date
      • March 13, 2007 (United States)
      • France
      • Italy
      • French
    • Also known as
    • Filming locations
      • Boulogne-sur-Mer, Pas-de-Calais, France
    • Production companies
      • Argos Films
      • Alpha Productions
      • Eclair
    • See more company credits at IMDbPro

    Technical specs

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    • 1 hour 55 minutes
      • Mono
      • Dolby Digital

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