ALAIN RESNAIS: (ENGE).Studies the remarkable work of Resnais, whose films include La Guerre est Fini, Stavisky, and Last Year at Marienban. |
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actors Alain Resnais Alphonse André Arlette audiences Belmondo Bernard Fresson Bounoure Cahiers Catrine Cayrol character Chris Marker cinema Claude Ridder Clive colour critics death découpage classique Délivrez-nous du bien Delphine Seyrig dernière à Marienbad dialogue Dickson Diego director editing experience false documentary fantasy fiction filmmaker Forlani Françoise French Gérard Godard Guerre est finie Hélène Hiroshima mon amour imagination Interview Jacques Saulnier Jacques Sternberg Je t'aime Jean Jean Cayrol Jorge Semprun Kael Kevin L'Année dernière L'Avant-Scène later lives love story Marguerite Duras Marianne Marienbad memory Mercer Monster Maker montage movie Muriel Nadine narrative Narrator never novel Nuit et Brouillard October Paris past Pierre political Production Providence reality relationship Repérage Resnais's Resnais's films Robbe-Grillet Sacha Vierny Sade Sade's scene screenplay Seaver seems sense September sequence Serge Alexandre shooting shot Sight and Sound sixties Sonia soundtrack Stan Lee Stavisky Stavisky's structure style t'aime Trotsky Truffaut Vietnam
Popular passages
Page 12 - Latins call imagination, from the image made in seeing, and apply the same, though improperly, to all the other senses. But the Greeks call it fancy, which signifies appearance, and is as proper to one sense as to another. Imagination, therefore, is nothing but decaying sense; and is found in men and many other living creatures, as well sleeping as waking.
Page 28 - O temps! suspends ton vol; et vous, heures propices! Suspendez votre cours : Laissez-nous savourer les rapides délices Des plus beaux de nos jours!
Page 12 - For after the object is removed, or the eye shut, we still retain an image of the thing seen, though more obscure than when we see it. And this is it, the Latins call imagination, from the image made in seeing; and apply the same, though improperly, to all the other senses. But the Greeks call it fancy; which signifies appearance, and is as proper to one sense, as to another.
Page 60 - I walk on, once again, down these corridors, through these halls, these galleries, in this structure — of another century, this enormous, luxurious, baroque, lugubrious hotel — where corridors succeed endless corridors — silent deserted corridors overloaded with a dim, cold ornamentation of woodwork, stucco, moldings, marble, black mirrors, dark paintings, columns, heaving hangings — sculpted door frames, series of doorways, galleries — transverse corridors that open in turn on empty salons."11...
Page 52 - It's still the same old story, A fight for love and glory, A case of do or die. The world will always welcome lovers, As time goes by.
Page 48 - I meet you. I remember you. Who are you? You destroy me. You're so good for me. How could I have known that this city was made to the size of love? How could I have known that you were made to the size of my body? You're great. How wonderful. You're great. How slow all of a sudden. And how sweet. More than you can know. You destroy me. You're so good for me. You destroy me. You're so good for me. Plenty of time. Please. Take me. Deform me, make me ugly. Why not you? Why not you in this city and In...
Page 8 - I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel.
Page 62 - The essential characteristic of the image is its presentness. Whereas literature has a whole gamut of grammatical tenses which makes it possible to narrate events in relation to each other, one might say that on the screen verbs are always in the present tense...
Page 65 - The whole film, as a matter of fact, is the story of a persuasion: it deals with a reality which the hero creates out of his own vision, out of his own words.
Page 47 - As the film opens, two pairs of bare shoulders appear, little by little. All we see are these shoulders - cut off from the body at the height of the head and hips - in an embrace, and as if drenched with ashes, rain, dew, or sweat, whichever is preferred. The main thing is that we get the feeling that this dew, this perspiration, has been deposited by the atomic 'mushroom' as it moves away and evaporates.