Search Results

“... One of the​ remarkable things about Alain Resnais’s film Muriel (1963), now released on Blu-Ray and DVD in a new print by Criterion, is that it doesn’t grow on you. It’s just as strange on a second or third viewing as on the first, and part of the reason is its cosy, well-dressed look. The characters wear fur-coats, silk scarves; they seem constantly on some sort of bourgeois parade – well, their hair gets ruffled when they are really upset – but almost nothing in their lives corresponds to this orderly image ...”

“... thought, ought to be open to the outside: to her friends Georges Bataille and Maurice Blanchot, to Alain Resnais and Delphine Seyrig, to those who simply rang the bell on the rue Saint-Benoît, like the Italian journalist Leopoldina Pallotta della Torre. (It helped that she had brought a hunk of Parmesan; it was noon, the 73-year-old had just got up, and ...”

“... the relevant scenes from Pasolini’s film of that name. Earlier we attend a lecture she gives on Alain Resnais and Marguerite Duras’s Hiroshima mon amour, where she says that its mode is not realism but a ‘sublimation of the real’. This is all intelligent, interesting stuff but comes to seem too clear and too abstract to Rama, lost among the pain ...”

“... Bioy Casares’s novel, The Invention of Morel (1940), has a similarly silly ending, but when Alain Resnais and Alain Robbe-Grillet took a similar story as the basis for Last Year at Marienbad they excised the futuristic gadgetry, presenting the same events with no mundane underpinning. Even memory can make such ...”

“... the age of thirty he had published poetry, short stories, a number of articles and a novel. With Alain Resnais, he made Les Statues meurent aussi (1953) and the ground-breaking Nuit et brouillard (1955); he then became a major figure in the French short film industry of the 1950s and 1960s, pioneering a new genre, ‘the essay-film’, in a series of ...”

“... MD’s gift for dialogue pushed her towards plays and films, where she was best served by Alain Resnais. In 1959 they worked on Hiroshima mon amour and in 1961 on L’Année dernière à Marienbad, which restated MD’s familiar obsessions – with mysterious sequences leading to the heart of ‘the human predicament’, with unattainable ...”

“... d’éternité won the Prix de l’avant-garde when it was shown at Cannes and found admirers in Alain Resnais, Chris Marker and Jean-Luc Godard.Like​ Antonin Artaud before him, Isou lived his art. He also paid the price for it. In Hussey’s account he emerges as a man always on the brink. As his disciples betrayed him and his movement ...”

“... now begun to make films – the first, L’Année dernière à Marienbad of 1960, was made with Alain Resnais, whose restraining hand is said to have kept Robbe-Grillet within decorous bounds, which were energetically overstepped in the films that followed – Robbe-Grillet was determined to make the most of the greater licence in respect of reality ...”

“... Ronet, trapped in a lift for the duration of the same film; of the frozen, bewildered lovers in Resnais’s Hiroshima mon amour, 1959, and L’ Année dernière à Marienbad, 1961; of the boy staring at the ocean at the end of Truffaut’s Les Quatre Cent Coups, 1959; of the calm but trapped face of Marina Vlady in Godard’s Deux ou trois choses que je ...”

“... always coming to see Karel. I remember the doorbell rang and I opened it and standing there was Alain Resnais. He was carrying a very high, very narrow suitcase, and he wheeled it into the kitchen and we all sat down and had coffee. Eventually, I had to ask him what was in the suitcase, and he opened it and there it was: tin after tin of baked beans to ...”

“... the problems of the day on any chat show that would have him. Fellini visited the Marvel office. Alain Resnais proposed a collaboration.Goodman, who made it clear that he felt comics ‘were only really read by very, very young children or stupid adults’, was happy for Lee to have his moment. Kirby, a gruff workaholic, and Ditko, a touchy ...”

“... different time zones. Kubrick knows this as well as Billy Wilder did in Sunset Boulevard or Alain Resnais did in Last Year at Marienbad. In Killer’s Kiss, Kubrick has his heroine narrate her whole miserable life story over an image which simply shows a solitary ballet dancer in performance – she is the heroine’s envied and unhappy sister ...”

“... name here, three films it happens, were released: Ingmar Bergman’s Smiles of a Summer Night, the Alain Resnais/Marguerite Duras Hiroshima, Mon Amour and Antonioni’s L’Avventura – each associated with a question about whether something new might happen (Samuel Beckett’s Godot and Endgame were still new), shadowed by the question whether love is ...”

“... of his own films in relation to the work of selected classic directors: Lang, Dreyer, Minnelli, Resnais, Rossellini, Eisenstein. Certainly all of these directors recur in Histoire(s), as do many of Godard’s own long-serving ideas. But the form is different: an intense and intricate video essay that looks forward (or across) to Chris Marker’s Immemory ...”