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Letztes Jahr in Marienbad

Originaltitel: L'année dernière à Marienbad
  • 1961
  • 16
  • 1 Std. 34 Min.
IMDb-BEWERTUNG
7,6/10
26.215
IHRE BEWERTUNG
Giorgio Albertazzi, Sacha Pitoëff, and Delphine Seyrig in Letztes Jahr in Marienbad (1961)
Trailer for Last Year At Marienbad
trailer wiedergeben2:13
2 Videos
79 Fotos
Psychological DramaDramaMysteryRomance

In einem merkwürdigen und abgelegenen Schloss lernt ein Mann eine Frau kennen und besteht darauf, sie schon einmal getroffen zu haben.In einem merkwürdigen und abgelegenen Schloss lernt ein Mann eine Frau kennen und besteht darauf, sie schon einmal getroffen zu haben.In einem merkwürdigen und abgelegenen Schloss lernt ein Mann eine Frau kennen und besteht darauf, sie schon einmal getroffen zu haben.

  • Regie
    • Alain Resnais
  • Drehbuch
    • Alain Robbe-Grillet
  • Hauptbesetzung
    • Delphine Seyrig
    • Giorgio Albertazzi
    • Sacha Pitoëff
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,6/10
    26.215
    IHRE BEWERTUNG
    • Regie
      • Alain Resnais
    • Drehbuch
      • Alain Robbe-Grillet
    • Hauptbesetzung
      • Delphine Seyrig
      • Giorgio Albertazzi
      • Sacha Pitoëff
    • 164Benutzerrezensionen
    • 117Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 1 Oscar nominiert
      • 2 Gewinne & 5 Nominierungen insgesamt

    Videos2

    Last Year at Marienbad
    Trailer 2:13
    Last Year at Marienbad
    Last Year at Marienbad - Restoration Trailer
    Trailer 1:33
    Last Year at Marienbad - Restoration Trailer
    Last Year at Marienbad - Restoration Trailer
    Trailer 1:33
    Last Year at Marienbad - Restoration Trailer

    Fotos79

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    Topbesetzung16

    Ändern
    Delphine Seyrig
    Delphine Seyrig
    • La femme
    Giorgio Albertazzi
    Giorgio Albertazzi
    • Le narrateur
    Sacha Pitoëff
    Sacha Pitoëff
    • Le mari
    Françoise Bertin
    • Un personnage de l'hôtel
    Luce Garcia-Ville
    • Un personnage de l'hôtel
    Héléna Kornel
    • Un personnage de l'hôtel
    Françoise Spira
    • Un personnage de l'hôtel
    Karin Toeche-Mittler
    • Un personnage de l'hôtel
    • (as Karin Toche-Mittler)
    Pierre Barbaud
    • Un personnage de l'hôtel
    Wilhelm von Deek
    • Un personnage de l'hôtel
    Jean Lanier
    • Un personnage de l'hôtel
    Gérard Lorin
    • Un personnage de l'hôtel
    Davide Montemurri
    • Un personnage de l'hôtel
    • (as Davide Montemuri)
    Gilles Quéant
    • Un personnage de l'hôtel
    Gabriel Werner
    • Un personnage de l'hôtel
    Alan Edwards
    • English Introduction
    • (Nicht genannt)
    • Regie
      • Alain Resnais
    • Drehbuch
      • Alain Robbe-Grillet
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen164

    7,626.2K
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    Empfohlene Bewertungen

    riffraf

    2nd weirdest/incomprehensible film ever

    My top 5: Alain Robbe-Grillet's "L'Imortelle" takes number 1 (by a landslide), and its a tie between David Lynch's Eraserhead & Blue Velvet for position 3, closely followed by Louis Buñuel's "Andalusian Dog" and Stan Brackage's "Dog Star Man" (which I would have rated number 1, except that I hated that so much I will not give it the satisfaction of being highly rated in any category!) and finally "Koyanisquatsi" which I defy any to explain or justify!

    So - Last Year At Marienbad, in a nutshell, assume French Accent:

    Verse 1: Man: I know you. Woman: You do not know me. Man: We were here. Woman: I was never here. Chorus: Man: Long strange monologue about the place that they are at, Marienbad. And how he has been here before and how she has been here before. Camera: panning about the ornate Marienbad mansion. Verse 2: (repeat verse 1 - add very interesting game of pick-up sticks) Chorus repeat verses 1 & 2

    I think everyone should see this film. I don't know why. I have seen it numerous times. No, I have never seen it. Yes, I saw it last year! No, last year I did not see it. Yes, I saw it here, with me. Wait, I'm alone. Who am I talking to?
    wperkins

    The Persistence of Memory

    The title of Dali's best known work is an apt description of this film. A man meets a woman at a European spa and tries to convince her (and himself) that they met one year ago. While the plot is simple, its presentation is not. I first saw L'annee derniere a Marienbad while taking a French Film class in college. Of the dozen or so films we watched, Marienbad has stayed with me the longest. The nameless protagonist's memories repeat, sometimes minutely changed, sometimes not. The same organ motifs echo again and again, all against the backdrop of elegant hallways and sitting rooms. Through all this, the man attempts to spirit the woman away from her husband/companion, while at the same time establish once and for all what happened last year and what did not. More than any other film, Marienbad has shown me the difference between American film conventions and what else is possible. While so many American releases are rigidly plot driven, Marienbad uses film as a tool for exploration and introspection. Instead of linear story telling, director Resnais allows his characters to explore the details of what may be memory or just imagination. Against a detached, almost stoical background of extras and cool interiors, Delphin Seyrig and Giorgio Albertazzi display a sharp contrast of passion, pleading, and denial. I agree with a previous reviewer that much of the look of Marienbad has been appropriated by commercials for perfume; however, if you haven't seen this film before, you most likely have never seen anything quite so surreal.
    fpickart

    Intriguing and fascinating film

    I am amazed by the plethora of negative comments surrounding this film. Having seen it for the first time recently I thought it one of the most creative representations of a Greek myth to date. It is the story of Orpheus, a hero who attempts to rescue his love from the underworld but must convince her to leave of her own free will. The film is set in a hotel and the surrounding gardens. The film is rich in symbolic imagery and the camera shots beautiful. The score leaves something to be desired but anyone who loves Greek mythology and good cinema should appreciate this film.
    9Afracious

    Meandering & trance-like

    This mysterious film shows us a man and a woman in an extravagant and capacious hotel. The man insists that he had an affair with the lady last year in Marienbad (or was it somewhere else?) The woman denies it, and just wants the man to leave her alone. Perhaps the man did meet her, perhaps he didn't. Resnais puts the pieces there and lets us take what we can from it.

    The beautiful looking establishment, complete with gardens of splendour, is an eerie setting for the film. The guests seem like they are in a trance most of the time. A card game is shown where a man cannot be beaten, he claims. The cinematography is brilliant. Dark, then white, giving a blinking effect at times; and constantly switching between different locations. The music throughout the film sounds like it's from an old church organ. I can understand why this film will put off some people, because it doesn't explain much, and does meander at a pedestrian pace. But approached in the right mood, and watched in a dark room, this is a film to appreciate. Peter Greenaway thinks so; the film was influential in the making of The Draughtsman's Contract, and is (supposedly) the film Greenaway most admires.
    10debblyst

    Want a precious hint? Read the novella "La Jalousie" by Robbe-Grillet

    It's useless to speculate on the "real" meaning of this dream-like movie that is an investigation on the mechanics of memory, and has the absolutely unique feature of allowing as many interpretations as there have been viewers since it opened to change cinematic grammar, decades ago. I've seen it 4 or 5 times over a span of some 25 years and still find it sumptuously directed, endlessly fascinating, eerie, one of my favorite movies of all time, and above all, an O-R-I-G-I-N-A-L !! Every movie ever made since "Marienbad" has a direct or indirect debt to it, as it abandoned (and subverted) objective story-telling tradition and entered the realm of total subjectivity, challenging movie audiences' intelligence, attention and perception. Of course, it's not meant for viewers who associate movies with light entertainment, though anyone who's ever wondered about his/her own mnemonic idiosyncrasies -- the diffuse, random, inaccurate way we recall facts and sometimes even mix them with imagined stuff -- surely COULD relate to this masterpiece.

    There has been many conjectures as to the subject and the plot. Well, if you want a good hint, let me give you a precious one: read the novella "La Jalousie" (Jealousy, 1957), by Alain Robbe-Grillet, who is also the screenwriter of "Marienbad". "La Jalousie" is the thematic and "ideological" inspiration for "Marienbad".

    Robbe-Grillet (one of the top names of the French "Nouveau Roman" movement along with Nathalie Sarraute, Marguerite Duras, Michel Butor, etc), was a former agronomist/ mathematician (and his writing shows it) who became a writer/filmmaker with a very personal, geometrical, unemotional, descriptive style. The novella "La Jalousie", like most Nouveau Roman books, is essentially cinematic in their approach of characters and plot, functioning like a film camera, a non-opinionated unobtrusive observer, but insightfully revealing in its "detachment".

    His novella "La Jalousie" is a fascinating, maze-like circular construction, in which beginning and end mingle many times over, each time from a different perspective, just like observing a house or a sculpture from different angles one at a time -- which means each angle is only partially accurate, revealing but a portion of the truth, while hiding another. The "observer/narrator" in the book (the husband, but written in the third person - "he") tries to locate in PLACE and TIME the precise moment in which the feeling of jealousy arises in him as he tries to find the extent of his wife's relationship with another man (a.k.a. the threesome in the film). Did an affair really happen? Is it yet going to happen? Or is it his imagination, his suspicion, just his jealous feeling? (btw, this is the same theme as Proust's incomparable masterpiece "La Prisonnière", treated in antipodal, totally psychological, but equally obsessive style).

    As in most "Nouveau Roman" novels, the notion of TIME in "La Jalousie" (and also in "Marienbad") is transformed and deformed; the approach of the characters is non-psychological, meaning that thoughts and outbursts of emotion are not dealt with, only the description of places, words, gestures and actions. Everything (even a very strong feeling like the birth of jealousy) is apprehended only through the observation of external facts: small gestures, the position of a chair or a table, a glass found full or empty, an unexpected sound, the way the woman combs her hair or looks at herself in the mirror, a suddenly unusual way of getting up or sitting down which leads to the husband's perception that something has suddenly, dangerously, definitely changed.

    Well, it made very much sense to me that language-experimentalist book-worm Alain Resnais (think of all of his movies which were based on literature) and his fascination with memory and the brain (think "Hiroshima Mon Amour", "Je t'Aime Je t'Aime" and "Mon Oncle d'Amérique") should venture in constructing this film in visual terms using the geometrical structure of the novel (hence the breathtaking serpentine camera movements), with no beginning or end, respecting its "external", non-psychological, non-motivational approach of the characters and the plot, never condescending to "explanations".

    See the film and read the book! I'm sure that, if you've liked (or been baffled by) the film on a first viewing, you'll have many insights on a second viewing of this absorbing, totally fascinating movie after reading the book on which it is structurally/esthetically based. While it's not essential to do so, it could be kind of a bonus! What else can I say? A definitive, revolutionary, undisputed film classic - 10/10

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    Handlung

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    • Wissenswertes
      The match game in the movie is named as "Nim". In order to win the game there is only one tactic including a system called "Nim Sum". If both players use this tactic perfectly, then the owner of the first move will eventually lose. Due to the same reason, it is always disadvantageous to start the game first.
    • Patzer
      Exterior night scenes were shot day-for-night, but the sky and reflections of it were allowed in the frame, and they appear as bright white instead of black. This may have been intentional to emphasize the surreality of the film.
    • Zitate

      [X wanders through the hotel's corridors cataloging items he sees]

      X: Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.

    • Verbindungen
      Featured in Fejezetek a film történetéböl: A francia új hullám (1990)

    Top-Auswahl

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    FAQ18

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    Details

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    • Erscheinungsdatum
      • 19. Oktober 1961 (Westdeutschland)
    • Herkunftsländer
      • Frankreich
      • Italien
    • Offizieller Standort
      • StudioCanal International (France)
    • Sprache
      • Französisch
    • Auch bekannt als
      • Last Year at Marienbad
    • Drehorte
      • Nymphenburg Palace, München, Bayern, Deutschland
    • Produktionsfirmen
      • Cocinor
      • Terra Film
      • Cormoran Films
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 207.917 $
    • Eröffnungswochenende in den USA und in Kanada
      • 15.485 $
      • 20. Jan. 2008
    • Weltweiter Bruttoertrag
      • 223.111 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 34 Minuten
    • Farbe
      • Black and White
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 2.35 : 1

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    Giorgio Albertazzi, Sacha Pitoëff, and Delphine Seyrig in Letztes Jahr in Marienbad (1961)
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