Last Year at Marienbad (The Criterion Collection) [Blu-ray] | ![Last Year at Marienbad (The Criterion Collection) [Blu-ray]](http://ecx.images-amazon.com/images/I/31RGs30UdPL.jpg) | Director: Alain Resnais
Actors: Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoeff, Luce Garcia-Ville, Helena Kornel
Studio: Criterion
List Price: $39.95
Buy New: $23.98
as of 5/22/2012 01:59 MDT details
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Format: Black & White, Special Edition, Subtitled, Widescreen
Languages: English (Subtitled), French (Original Language)
Rating: Unrated
Media: Blu-ray
Region: 1
Discs: 1
Aspect Ratio: 2.35:1
Running Time: 94 Minutes
Shipping Weight (lbs): 0.4
Dimensions (in): 6.5 x 5.4 x 0.6
MPN: IMEBRCC1816
UPC: 715515046312
EAN: 0715515046312
Release Date: June 23, 2009
Availability: Usually ships in 24 hours
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Product Description
Not just a defining work of the French New Wave but one of the great, lasting mysteries of modern art, Alain Resnais' epochal visual poem has been puzzling appreciative viewers for decades. A surreal fever dream, or perhaps a nightmare, Last Year at Marienbad (L'ann‚e derniŠre … Marienbad), written by the radical master of the New Novel, Alain Robbe-Grillet, gorgeously fuses the past with the present in telling its ambiguous tale of a man and a woman (Giorgio Albertazzi and Delphine Seyrig) who may or may not have met a year ago, perhaps at the very same cathedral-like, mirror-bedecked chƒteau they now find themselves wandering. Unforgettable in both its confounding details (gilded ceilings, diabolical parlor games, a loaded gun) and haunting scope, Resnais' investigation into the nature of memory is disturbing, romantic, and maybe even a ghost story.
One of the most ferociously iconoclastic and experimental films of the French New Wave, Alain Resnais's 1961 feature, winner of the grand prize at that year's Venice Film Festival, is based on a script by Alain Robbe-Grillet. At its center is what seems to be a simple but unanswerable puzzle: Did its protagonist (Giorgio Albertazzi) have an affair the year before with a woman (Delphine Seyrig) he just met (or possibly re-met) at his hotel? The inquiry becomes an unsettling experiment in flattening the dimensions of past, present, and future so that any difference between them becomes meaningless, while Resnais's coldly formal but oddly dreamlike geometric compositions make space itself seem a function of subjective memory. Add to that Resnais's trademark tracking shots--long, smooth, a visual correlative of a wordless feeling--and this is a film that truly gets under the skin in almost inexplicable ways. One of the most influential works of its time. --Tom Keogh
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