tag:blogger.com,1999:blog-3296479421292377391.post6766110445031184828..comments2024-03-15T04:08:16.172-04:00Comments on Only the Cinema: Muriel ou Le temps d'un retourEd Howardhttp://www.blogger.com/profile/18014222247676090467noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-3296479421292377391.post-65876544761706008842013-06-14T03:19:13.234-04:002013-06-14T03:19:13.234-04:00Can you explain what happened with the letter and ...Can you explain what happened with the letter and Globe D'Or? <br />Who is lying and what really happened and why?Andrea Ostrov Letaniahttps://www.blogger.com/profile/13478113002321077670noreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-90112158184347332992011-02-28T22:26:54.351-05:002011-02-28T22:26:54.351-05:00"The fiction films are different kinds of mas..."The fiction films are different kinds of masterpieces, each in their own weird, unsettling ways. Muriel engages, from a different angle, with the same themes of history and the atrocities that reverberate back into the present from the past."<br /><br />Amen to that Ed!Sam Julianonoreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-48809285720706424702011-02-28T22:03:22.607-05:002011-02-28T22:03:22.607-05:00Sam, "oddly engaging" says it well. What...Sam, "oddly engaging" says it well. What's interesting about Resnais is that, as difficult and abstract as his work is, I always find his films very engaging and enthralling. It's hard to compare his later fiction features to <i>Night and Fog</i>, a stone-cold masterpiece and an absolutely remarkable piece of art and historical commentary. The fiction films are different kinds Ed Howardhttps://www.blogger.com/profile/18014222247676090467noreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-91255532884853866942011-02-28T18:05:00.644-05:002011-02-28T18:05:00.644-05:00Hans Werner Henze has done several interesting fil...Hans Werner Henze has done several interesting film score, cicluding Volker Schlondorff's <i>Young Torless</i> and <i>Un Amour de Swann</i>DavidEhrensteinhttps://www.blogger.com/profile/11016905507543736049noreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-18882715672360179772011-02-28T17:25:57.241-05:002011-02-28T17:25:57.241-05:00"It's as though these characters are trap..."It's as though these characters are trapped by this story, as trapped as the partying bourgeois of Buñuel's The Exterminating Angel, made the year before. Buñuel trapped his characters in a physical space, but Resnais encircles these people only with the boundaries of narrative and cliché. They're hemmed in by the story, by the editing, by the illogic of a film where everything Sam Julianonoreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-57142864622753730012011-02-28T11:28:49.348-05:002011-02-28T11:28:49.348-05:00The operative word is "seemigly." The qu...The operative word is "seemigly." The quick cuts in the truly disorienting opening moments convey Delphone Seyrig's nevervousness. This is also one of her very greatest performances. I suspect it's why Chantal Ackerman cast her for <i>Jeanne Diehlman</i>DavidEhrensteinhttps://www.blogger.com/profile/11016905507543736049noreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-29099789475557609982011-02-28T11:16:53.018-05:002011-02-28T11:16:53.018-05:00David, it's definitely a masterpiece, and a ve...David, it's definitely a masterpiece, and a very odd one. The editing may not shuffle time or space for the most part, but the narrative, such as it is, is elliptical in the extreme, proceeding in fits and starts with crucial bits seemingly chopped out whole in between. Such a great film.Ed Howardhttps://www.blogger.com/profile/18014222247676090467noreply@blogger.comtag:blogger.com,1999:blog-3296479421292377391.post-70154064210567525172011-02-28T10:02:42.748-05:002011-02-28T10:02:42.748-05:00This is Resnais' towering masterpiece. A compl...This is Resnais' towering masterpiece. A complete commercial failure in its time (it played all of three days on its initial New York run) and a work of considerable upset in France as it came out at the height of the Algerian conflict. Unlike <i>Hiroshima Mon Amour</i> and <i>Last Year at marienbad</i> its fragmentation has nothign to do with spacio-temporal alteration. Outside of a brief DavidEhrensteinhttps://www.blogger.com/profile/11016905507543736049noreply@blogger.com