Je t'aime, je t'aime

Resnais' LAST YEAR AT MARIENBAD is one of the greatest movies i've ever watched. I've watched also COEURS but i don't remember it clearly, i think i liked it. "Je t'aime, je t'aime" is inferior to them. I didn't feel anything, supposedly this is a tragic story with a a couple that once felt in love for each other and then, something happened. However, the leading character was too bland and kinda boring and the whole story was not that interesting as you think, reading the synopsis. This is a brilliant and original plot and so many movies have copied it (ETERNAL SUNSHINE OF A SPOTLESS MIND, COMET by Sam Esmail etc). I respect this, hence the 7 stars. But i couldn't emotionally connect with it. It fell flat, even though there were a few intense moments. This is too "celebral" i believe, more brilliant/intellectual than exciting. If you love art movies, you should definitely watch it. At least, this is not confusing/chaotic at all, it's totally accesible.

After a failed suicide, a young man (Claude Ridder, played by Claude Rich) is recruited as a volunteer in a time travel experiment that appears to leave him temporally disconnected and re-experiencing moments from his past. While clearly a 'science fiction' movie (the actual time machine is an odd organic tent-like structure with a form fitting couch from which the subject disappears and reappears), the time travel element serves only as a biographical framing device as Ridder flicks back and forth in his personal history and the story of his troubled love for depressed Catrine (Olga Georges-Picot) and the events leading to her death and his subsequent suicide attempt unwind in an non-linear, and sometimes repetitive, fashion. Helmed by French New Wave director Alain Resnais, the film has some odd flourishes (in one memory, Ridder is met by a man in formal dress and a 'gill-man' face (mask?)). The film never makes clear whether Ridder is physically in the past as an observer or is revisiting the past by occupying his own body. The mouse that he shares the time machine with does appear occasionally, but no explanation is offered. I am not sure if Claude and Olga's relationship would have been that interesting without the time-travel framework, but perhaps if I had been more attentive to details, I would have found the story less disjointed and more engaging. Interesting more than entertaining, the film is an interesting entry in the limited body of 1960's French Science fiction cinema but anyone expecting another 'Barberella' (1968) will be greatly disappointed. * to borrow Kurt Vonnegut's expression

After the political theme of "La guerre est finie",Resnais returns to his familiar subject,time,in all its complexity in this film which is almost as opaque as "Marienbad" or as unsettling as "Muriel".Ridder {Claude Rich,an actor whom Resnais used many times over the years}is a publisher whose girlfriend is accidentally killed and who feels in some way responsible for her death.After listening to a recording by Thelonius Monk,he unsuccessfully attempts suicide after which he has a lengthy recuperation in a hospital .When he leaves,two doctors who have a constructed a time machine ask if he would like to participate in their experiments. Having nothing to lose,he readily agrees and enters the bizarre contraption along with a white mouse,although unlike the fly in Cronenberg's film there is thankfully no genetic mutation involved. He does not travel forward in time,however,but back ,precisely one year to a beach in Brittany.The experiment is supposed to last for a minute but something goes wrong and he is trapped in the machine.Now he experiences a host of memories brought sharply back to life,some important,others banal,in a kaleidoscope of sharply edited images which brings to mind the montages of "Muriel".The theme is reminiscent of many films from "La Jetée" to "The eternal sunshine of the spotless mind" and this rarely seen film is definitely one of the most important of Resnais' career.

Ostensibly buried upon release under the avalanche of the '68 events, a time when the Parisian youths were more keen to plan for a radical future than lament a forlorn past (and perhaps as preparation spent their movietime away from the streets watching Week End or La Chinoise, films that rehearsed their efforts), in this Resnais film we find no eternal sunshines and no spotless minds. We find only memory, this destructive facet of consciousness grinding out its painful cycle of endless returns.

I had anticipated a complex film, it's what fans of it insist, instead it's the most simple of Resnais' features I have seen. We see here a life rearranged out of time, a love affair, a death. We see how the lovers met, what idle or affectionate time they shared on the same bed, how they hoped or thought to communicate and know one another but probably didn't, the man's struggles to maintain the closeness in the relationship and his failure to do so. We see how they grew apart and broke up, and what happened of them.

Resnais' touch is that we don't see any of this in that order, rather as convalescent images relived, as though there might not be pattern there. But once the novelty plays out, he doesn't take it far enough. He has to rely on montage for all this, and acquits himself rather well. When they break up, he doesn't follow the scene with something from older, happier times, the contrast would've been much too easy, instead he gives us an anonymous scene from a time inbetween where she's crying on his shoulder.

It's a simple film only because it comes by the hand of Resnais. In retrospect he was perhaps unlucky to make Hiroshima mon Amour his debut. And as followup, the complete, perfect abstraction of it. What was left for him to go next?

After having seen three films of Alain Resnais over the past few years 'Last year at Marienbad, 'Hiroshima Mon Amour' and 'Mon Oncle d'Amerique' I think he is a director well worth the effort to learn a little more about.

Resnais plays with time here and films directly what happens in the conscious of the protagonist. Impossible to place in time and place a linear narrative from the short fragmatic bursts of scenes. Eventually these scenes, disposed and diced, give the mesh or framework leading to his eventual suicide attempt. To make things more confusing it is possible that some scenes are in fact his fantasies and he didn't live them at all.

I like very much films that deal with time and space when handled by great directors. You leave the cinema often slightly confused as you are thrown back into reality. The film calls for a lot of reflection.