Resnais and Robbe-Grillet came over for the press screening, and I chatted to them in the lobby of the now defunct Cameo-Poly art . Read more » June 19, 2009 Forty-six years ago, Last Year at Marienbad opened in London. Read more » April 22, 2009 Some of you might have seen the news item on our website regarding the Jacques Tati “centennial-plus” and the exhibits around Paris paying homage to the inventive filmmaker. What makes the movie -- which is still somehow an event -- is Resnais’s remarkable collaboration with Robbe-Grillet, pioneer of the nouveau roman and, until this February, possibly the best French writer alive.Neither of them reached the same cinematic heights alone, Resnais’ Hiroshima, Mon Amour and Robbe-Grillet’s own directing notwithstanding.The subtitle database Subtitles Bank is sure to delight lovers of world cinema masterpieces.
On the other side of a trap door in time, one is faced with not just a dress, but the sensual presence of something uncannily beautiful, nearly impossible, and overtly problematic all at once: the cinematic equivalent of whale bone-enforced corset, silk from the colonies, and the kind of workmanship only extreme class disparity can provide. Advertisements almost inevitably quote critical declarations that Marienbad is “the Finnegans Wake of movies” (does the Joyce estate get a penny every time they set the standard? In 1960s Paris, it was “Resnais’ Picasso.”Today, lines down the block and another extended run attest to Marienbad’s continuing ability to delight and derail.For example, Bosley Crowther’s lovely New York Times review, "Be prepared for an experience such as you've never had from watching a film when you sit down to look at Alain Resnais' "Last Year at Marienbad," a truly extraordinary French film, which opened at the Carnegie Hall Cinema last night." ("The Screen: 'Last Year at Marienbad': Carnegie Hall Cinema Shows Resnais".)My generation of cinephiles grew up with Marienbad in the guise of inspired music videos, perfume commercials, as well as the films of Peter Greenaway and David Lynch.