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Last Year at Marienbad

ओरिजिनल टाइटल: L'année dernière à Marienbad
  • 1961
  • Not Rated
  • 1 घं 34 मि
IMDb रेटिंग
7.6/10
26 हज़ार
आपकी रेटिंग
Giorgio Albertazzi, Sacha Pitoëff, and Delphine Seyrig in Last Year at Marienbad (1961)
Trailer for Last Year At Marienbad
trailer प्ले करें2:13
2 वीडियो
79 फ़ोटो
Psychological DramaDramaMysteryRomance

एक अलग-थलग किले में, एक आदमी एक औरत से मिलता है, जिसे वह पहले से जानता है, हालांकि वह इनकार करती है, जिससे एक जटिल मनोवैज्ञानिक नृत्य शुरू होता है.एक अलग-थलग किले में, एक आदमी एक औरत से मिलता है, जिसे वह पहले से जानता है, हालांकि वह इनकार करती है, जिससे एक जटिल मनोवैज्ञानिक नृत्य शुरू होता है.एक अलग-थलग किले में, एक आदमी एक औरत से मिलता है, जिसे वह पहले से जानता है, हालांकि वह इनकार करती है, जिससे एक जटिल मनोवैज्ञानिक नृत्य शुरू होता है.

  • निर्देशक
    • Alain Resnais
  • लेखक
    • Alain Robbe-Grillet
  • स्टार
    • Delphine Seyrig
    • Giorgio Albertazzi
    • Sacha Pitoëff
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.6/10
    26 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Alain Resnais
    • लेखक
      • Alain Robbe-Grillet
    • स्टार
      • Delphine Seyrig
      • Giorgio Albertazzi
      • Sacha Pitoëff
    • 164यूज़र समीक्षाएं
    • 117आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • 1 ऑस्कर के लिए नामांकित
      • 2 जीत और कुल 5 नामांकन

    वीडियो2

    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

    फ़ोटो79

    पोस्टर देखें
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    + 73
    पोस्टर देखें

    टॉप कलाकार16

    बदलाव करें
    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
    • (बिना क्रेडिट के)
    • निर्देशक
      • Alain Resnais
    • लेखक
      • Alain Robbe-Grillet
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं164

    7.626.2K
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    फ़ीचर्ड समीक्षाएं

    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?
    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
    eddie54

    A true science fiction classic

    Human-like aliens on a earth-like planet in a parallel universe. Life forms consist of about 50 or so replicants living in a luxurious hotel. They speak French, wear tuxedos and evening gowns, but their emotions are all but drained. They're very stiff and robotic. No one is seen eating food although they're always making plans for dinner. They enjoy posing, especially in gardens.

    The actual story involves a "rebel" known as X. He is the only one that exudes anything resembling human romantic desire. He takes a shine to a femalien known as A who is in residence with her lover/husband M. X realizes that M doesn't love A, so he feels it's alright to steal her away. All he had to do is convince A that she promised to go away with him a year ago and that she wanted one year to prepare. A doesn't remember the promise and X's efforts to convince her are like trying to unlock a door with a wet noodle. Love finally triumphs in the end as A eventually runs away with X in the night leaving M standing alone on the staircase with a blank expression.

    The director, Alain Resnais, is firmly quoted as saying that the film has no meaning. However, with so many people arguing that the film is loading with symbolism and is indeed much like a game or puzzle to be solved, I interpreted the film in a way that entertains me the most. That's my story and I'm sticking to it.

    Hope you like it.
    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.
    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.

    इस तरह के और

    Hiroshima Mon Amour
    7.8
    Hiroshima Mon Amour
    Le charme discret de la bourgeoisie
    7.7
    Le charme discret de la bourgeoisie
    Muriel ou le temps d'un retour
    7.0
    Muriel ou le temps d'un retour
    Au hasard Balthazar
    7.7
    Au hasard Balthazar
    Breathless
    7.7
    Breathless
    La notte
    7.9
    La notte
    Pierrot le fou
    7.4
    Pierrot le fou
    Jules et Jim
    7.7
    Jules et Jim
    Contempt
    7.4
    Contempt
    On connaît la chanson
    7.3
    On connaît la chanson
    Cléo de 5 à 7
    7.8
    Cléo de 5 à 7
    Vivre sa vie
    7.8
    Vivre sa vie

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      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.
    • गूफ़
      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.
    • भाव

      [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.

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

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल18

    • How long is Last Year at Marienbad?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 29 सितंबर 1961 (फ़्रांस)
    • कंट्री ऑफ़ ओरिजिन
      • फ़्रांस
      • इटली
    • आधिकारिक साइट
      • StudioCanal International (France)
    • भाषा
      • फ्रेंच
    • इस रूप में भी जाना जाता है
      • Letztes Jahr in Marienbad
    • फ़िल्माने की जगहें
      • Nymphenburg Palace, म्यूनिख, बवेरिया, जर्मनी
    • उत्पादन कंपनियां
      • Cocinor
      • Terra Film
      • Cormoran Films
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    बॉक्स ऑफ़िस

    बदलाव करें
    • US और कनाडा में सकल
      • $2,07,917
    • US और कनाडा में पहले सप्ताह में कुल कमाई
      • $15,485
      • 20 जन॰ 2008
    • दुनिया भर में सकल
      • $2,23,111
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    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 34 मिनट
    • रंग
      • Black and White
    • ध्वनि मिश्रण
      • Mono
    • पक्ष अनुपात
      • 2.35 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Giorgio Albertazzi, Sacha Pitoëff, and Delphine Seyrig in Last Year at Marienbad (1961)
    टॉप गैप
    What is the Canadian French language plot outline for Last Year at Marienbad (1961)?
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