Description

A cornerstone of French cinema, Alain Resnais' first feature is one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming fascination impelling them to exorcise their own scarred memories of love and suffering. Utilizing an innovative flashback structure and an Academy Award®-nominated screenplay by novelist Marguerite Duras, Resnais delicately weaves past and present, personal pain and public anguish, in this moody masterwork. ... Read more

Reviews (35)

WEAPONS OF MASS INSTRUCTION?
HIROSHIMA MON AMOUR (Criterion) is a love affair between a French actress and a Japanese architect that's set against memories of Hiroshima's atomic aftermath. But more than anything, Alan Resnais' first feature is a visual tone poem to life, love and death. Long acknowledged as a foundation stone of French cinema, this film continues to gather gravitas by scholars, critics and others who define and dwell within film culture. From the perspective of the 21st Century, this emotionally heavy story is sometimes pretentious -- mainly because we have become inured to the raw aftershock of Hiroshima and have little fresh experience of just how devastating a real weapon of mass destruction actually is. Underlying Resnais' film is our profound human need to understand the flow of history; that is, our true identity in time and space. Originally released in 1959, this painful love story still has the power stimulate reflection and emotion.

Love among the psychological ruins
Director Alain Resnais' extremely matter-of-fact portrait of an adulterous, interracial relationship was considered frank to the point of shocking in 1959; today few will be even mildly startled. But while time has dimmed this aspect of the film, it has not dimmed the complex and very poetic nature of the film as a whole, and HIROSHIMA, MON AMOUR remains one of the finest examples of French "New Wave" cinema. The story itself is simple. An actress (Emmanuelle Riva) has come to Hiroshima to appear in an international film promoting peace. Two days before she is scheduled to return to France, she casually picks up a Japanse architect (Eiji Okada.) Instead of the casual sexual encouter they expect, the two find a profound physical and emotional passion. The depth of this passion leads Riva to make revelations about a tragic wartime romance to Okada--a revelation that leaves her emotionally fractured and vulnerable to Okada's demands that she remain in Hiroshima with him. The two are then faced with the choice of destroying their marriages by continuing the relationship or parting never to see each other again, with neither choice really desirable.

A description of the storyline does not in any way describe what director Resnais does with it. The two leads are exceptional in their handling of the equally exceptional script, which presents us with a series of visual and verbal motifs (hair, hands, heads) that gradually acquire a poetic quality. The cinematography and editing manage to merge a documentary tone with a poetic lyricism. And much of the film's complexity lies in the way it treats the city of Hiroshima, which was destroyed by the atomic bomb and yet rebuilt itself; the city becomes a metaphor for the couple's relationship, the tragedies of passing time, the transient nature of memory, and everything that is both best and worst in human passion. Ultimately, HIROSHIMA, MON AMOUR does not present us with any easy answers, either about the couple its story presents or the nature of human passion in all its guises; it also requires full concentration, a certain degree of patience, and the ability to grasp metaphorical content. Because of this, I do not really recommend the film to a purely casual viewer--but those actively seeking a complex cinematic experience will find it makes a powerful, multi-layered statement, and for them I recommend it very highly indeed.

Rememberance and Forgetting..........Hiroshima Mon Amour
Late last night I turned off the lights, layed in my bed, got comfortable, and took in one of my favorite films of all time, Hiroshima Mon Amour. I had seen the film before, and acknowledged its beauty, both visual and lyrical, but last night I really payed close attention, watched carefully, listened carefully, and really took this monumental film in. Now can I say that I have a better understanding of the film? No. In fact, I now have more questions than before. Upon first seeing this film, you will probably be in awe of the beauty of it all. The camera work is STUNNING, the score is one of the greatest ever written for film, and the dialogue is sheer poetry. Mysterious poetry. You'll find yourself wanting to know more about the film, for there are just so many unanswered questions. I could write for hours and hours and waste you wonderful readers' time about what I took from this short (90 minute) masterpiece, but I won't. I will however, tell what I think the point of it all was...........

The point was to show the importance of memory, and of forgetting. When you see the incredible and powerful opening documentary montage on Hiroshima, you will think "why do we forget this?". Such a disasterous and enormous event has all but faded from our memories really. Thus Hiroshima is the perfect setting for this film, about two lovers, a French actress and Japanese (very French Japanese i might add, haha) who have a fling. The man wants the woman to stay, he is scared he'll forget about her if she leaves. The woman begins to open up about her tragic past in Nevers, France, a place she would love to forget, but cannot. This theme is carried through the entire film, through to the last scene in a hotel, where the woman breaks down and cries "I'll forget you in a few years, I know I will!" Thus they give eachother names, for they havent had names up to this point, Hiroshima and Nevers. Two places that they will NEVER forget, and hopefully will associate with their lover.

This film is brilliant, beautiful, and DEEP. certainly not for every taste. It really makes one question why we forget things, and why we should remember things.

I have not even BEGUN to tell about this film, you must see it for yourself. it truly is remarkable.

Brilliant film on the illusion of never forgetting
One of the prime examples of the French New Wave, a style of cinema that focused more on a personalized visual and experimental styles, with increased depths of feelings and exploration of themes, was Alain Resnais's debut effort, Hiroshima Mon Amour, which explored the effects of the atomic bomb and underscored the need to remember traumatic but profound memories for fear of them being repeated.

There is a symbolic part in the movie of an arm enfolded over a body, all encrusted in frost. Soon, the frost turns to beads of water, which in turn is the sweat of two bodies together. Old passions reawoken, an intimate meeting of two cultures, and that depicts the love story between a French actress playing a nurse in a film on peace and a Japanese architect. Both, it turns out, are happily married, yet there's something wanting in the woman, and it all goes back to her traumatic past during the war, in her hometown of Nevers in Central France, Southeastish from Orleans, and situated on the Loire River. After a night in bed, the couple spend the remainder of the next day together. For the man, it's a desperate attempt to hold onto her, as she has to leave tomorrow for Paris. For the woman, it's an internal turmoil involving her past and her growing attraction to the man, to whom she confides in.

But it's interesting to see the POV's of both. For the architect, Hiroshima became a part of history indelibly imbedded in the Japanese psyche. For the actress, Hiroshima meant "the end of war, the real end...[I was] stunned that they had dared, stunned that they succeeded, then the beginning of a new fear, followed by indifference, and also the fear of indifference." That is a source of bitterness to every Japanese, that the whole world rejoiced at the end of the war, including the actress.

The initial half of the film is shot documentary style over the woman's narration, witnessing the legacy of Hiroshima fourteen years after the fact. For her, seeing the newsreel footage, the memorial sites built at detonation point, and the movies made of the victims, is being there. It is the footage from the films that is pretty grim, be it burns on people, peeling skin, closeups on deformed and scorched hands, many on children and infants, and bald patches on hair. "I felt the heat on Peace Square in Hiroshima. 10,000 degrees in Peace Square" she says, to which the architect's voice intones "No, you saw nothing in Hiroshima." He is more connected by the reality because he is Japanese, so how can she know, witness, or feel the concept of Hiroshima? She feels tied more by empathy, with the film she's making and her own experiences during the war.

The testament to war and victimization is by her narration on why people are angry when they are deprived of their dignity and the necessities to survive: "It is the principle of inequality advanced by certain peoples against other people. By certain races against other races, by certain classes against other classes."

Resnais tweaks the conventional linear narrative flow with one combining past, present, and future into one and using flashbacks reconciling time with memory. And some fluid camera shots panning down the Hiroshima concourses and streets are well executed. The actress's romantic past and newfound encounter mesh with her taking in the city: "Just as in love, there is the illusion that it can never be forgotten. So with Hiroshima, I had the illusion that I would never forget...just as in love." But can she forget the architect when she returns to her husband and children in France?

Both leads, Emmanuelle Riva and Eiji Okada, carry this movie. Lyrical, moody, thoughtful, and with brilliant cinematography utilizing the darkness of the cafes and nighttime streets, and the whiteness of the actress's dress. Riva herself exhibits a forlorn, credulous, frail, and ultimately vulnerable woman in the actress, while Okada's architect is stolid, sardonic, but also at breaking point when it looks as if he's going to lose her.

Despite the long-trod thought of "never again," the actress's thoughts paints a bleak future of mankind unless it gives up its warlike savage ways: "It will happen again. 200,000 dead. 80,000 wounded in 9 seconds. ...10,000 degrees on Earth, 10,000 suns on Earth. The asphalt will burn. Chaos will reign. A whole city will be lifted off the ground, then drift down in ashes."

Victims of War
This is an excellent film that depicts the pain and suffering of war on the large and individual scale. By contrasting the two, the film is able to make its' message that much more profound.

The film takes palce in Hiroshima circa 1959 and begins as we hear the voices of two quieted lovers. The woman talks about what she has learned from witnessing the bombing of Hiroshima. The man constantly reminds her that she was not there. As the voices (in French) become faces, we see a French woman and a Japanese man. The woman is clearly very happy and full of life. Their relationship is about to end (it apparrently had barely begun). The man does not want to lose his new-found lover and persists over the next 24 hours to try and talk her into staying. At one point, the woman recalls the emotional tragedy that she suffered at the end of WWII in France. As she painstakingly recalls the events of 14 years ago, we watch her gradually disintegrate into a depressed shell of her earlier self. This is the tragic beauty of this movie and an effective way to show the horrors of war. Part of the problem of comprehending the devastation of war is often the immensity of it. As we are shown some graphic pictures and statistics of the A bomb's effect on Hiroshima, it sometimes gets hard to put it in human context. By "superimposing" the story of a woman's emotional tragedy and its' self destruction of her, we see the human effects. Her point at the beginning of the movie; that she know's what happened in Hiroshima, becomes understandable in this context. Ironically, the Japanese man, whose family perished in the bomb while he was serving elsewhere in the army, seems to be the one who was less affected by the war.

This movie is one of those whose meaning grows on you. I bought the DVD and, while I'm no techical expert, am quite satisfied with its' quality. I initially thought the price tag to be pretty steep. After viewing it once, I have come to look on it as a bargain. ... Read more

Description

Ten years after the liberation of the Nazi concentration camps, filmmaker Alain Resnais documented the abandoned grounds of Auschwitz. One of the first cinematic reflections on the horrors of the Holocaust, Night and Fog (Nuit et Brouillard) contrasts the stillness of the abandoned camps' quiet, empty buildings with haunting wartime footage. With Night and Fog, Resnais investigates the cyclical nature of man's violence toward man and presents the unsettling suggestion that such horrors could come again. ... Read more

Reviews (32)

Beautiful horror
I watched Night and Fog this morning.
It's about the Holocaust and was filmed only ten years after liberations of the camps.
It mixes black and white film recorded during the war with color film showing the empty camps.
The one shot that stays with me is the room full of hair.
For a film that is only 31 minutes it's very powerful.
This is not a film for the squimish.... It shows the truth of the Nazi horror.

Affecting, but somewhat disappointing as well
Let me start by saying that this documentary will have an effect on the viewer. I would not recommend it to young children or those that are hyper-sensitive to photos of the results of atrocities. There are a number of photos that are a bit shocking to see. For someone who is not familiar with the Holocaust, this film will be an eye opener.

However, it's not the documentary that my father remembers. I am wondering if there is a different version of the documentary out there? From conversations with my father, this film - in comparison to the one he viewed - almost sugar coats the camps and what happened in them, using film shot by the S.S. guards that almost seems innocuous in comparison to reality. The version my father remembers contains more S.S. film clips, including one of a train coming into the station, and continuing through the entire sorting process, up to and into the gas chambers. I am interested in locating this film in order to further my own studies of this horrible period in our history.

My father saw a version that was in German, not French. Perhaps someone out there can help me locate the other version, if it exists?

Gruesome Images
This was a great documentary. I will never forget the images that were shown in this documentary. The style the director used with the archive was great; I felt a huge amount of sadness for the lives lost while watching the present day archive. The technique and style of how he put everything together kept my eyes glued to the television the entire time. The reality of what happened at those camps was so gruesome that it made me want to cry.

Moving
I was in a Holocaust literature class in college this past semester, and this film was shown. It was so powerful and moving. I will never forget the piles of hair or the bodies being shoveled into large pits by bulldozers.

Powerful Documentary
Resnais' Night and Fog is an example of the pure power of image. There is no comfort zone of actors and special effects between the viewer and the movie, it is all real. Life as it truly happened, in all its horrific reality. Although uncomfortable to watch, it is essential. The power of the documentary has been neglected over the past few years by the mainstream. The public wishes to suspend reality when viewing movies, not be confronted by it. Hopefully more directors will take a cue from Resnais and provide us with cinematic mirrors by which to judge ourselves. ... Read more

Amazon.com

Could the true story of the financial scandal that shook France to the brink of civil war in 1933 be more timely? Jean Paul Belmondo is perfectly cast as Serge Alexander (a.k.a. Stavisky), the one-time underworld con man who charms his way to the top of the French financial world with bluff, cunning, and a bankroll of phony vouchers. Screenwriter Jorge Semprún (Z) weaves Stavisky's story through the tapestry of European politics: the rise of fascism, the stain of anti-Semitism, the shadow of impending war. The aloof style of Alain Resnais (Last Year at Marienbad) is warmed by the smiling charisma of Belmondo and by Charles Boyer's poignant turn as a sentimental, nearly bankrupt Baron. Elegantly shot by the great Sacha Vierny and accompanied by a lush Stephen Sondheim score, this multi-faceted gem is one of Resnais's most satisfying and accessible films. --Sean Axmaker ... Read more

Description

For some soldiers, the war is never over... Legendary "New Wave" director Alain Resnais (Last Year at Marienbad) helms this emotionally-charged suspense-drama set in France and on the streets of fascist Spain, starring European film icon Yves Montand (Jean de Florette), a young Genevieve Bujold (Coma) in one of her first screen appearances, and the radiant Ingrid Thulin (Wild Strawberries). Montand is an aging revolutionary learning to accept that the fight for freedom should be passed to younger hands until a chance encounter with a student terrorist revives his militant passions, but catastrophe stalks Montand on his unswerving path to his last mission and a fateful choice. ... Read more

Amazon.com

A frothy 1925 operetta, performed by a glittering cast that includes Sabine Azema and Audrey Tautou, might not sound precisely like the great director Alain Resnais's glass of champagne. But Not on the Lips (Pas sur la bouche) is in a line of Resnais films that uses false sets and stylized acting for its effect. This musical farce follows a wife (Azema) trying to keep her husband (Pierre Arditi) from learning that she was actually married once before--to an American who is about to become hubby's business partner. Awkward. Audrey Tautou, in a distinctly supporting role, navigates the trickery of flirtation as she tries to attract lounge lizard-y Jalil Lespert. Azema and Arditi are smooth as glass, but the standout here is Lambert Wilson (the French dude of the Matrix saga) as the tall, cigar-smoking American businessman, who disdains the un-hygenic dangers of kissing on the lips. Wilson's delivery of English phrases and his American-accented French is spot-on--you can hear the joke even if you don't speak French. The lightness of touch is maintained throughout, however gently the director of Last Year at Marienbad may be prodding at the undercurrents of Franco-American hostility (which probably seemed more loaded in 2004 than in 1925) and marital anxiety. --Robert Horton ... Read more

Reviews (3)

One of the Year's Best Films
Despite not getting a theatrical release Alain Resnais' ("Hiroshima mon amour") "Not On The Lips" is without doubt one of the best films I've seen this year. How sad that the movie will not be opened to larger audiences as this was one of the few films I've seen where I can say I had a lot of fun watching it.

"Not On The Lips" is a throwback to those wonderful comedies and musicals that were made back in the 1930's. Resnais says one of his main sources of inspiration were the Hal Roach comedies. Roach for those that don't know was a comedy producer who had such stars as Laurel & Hardy, Charlie Chase, and Zasu Pitts.

The film is really just eye candy. It is filmmed in bright lavish colors with characters wearing glamorous glowns and tuxedos. And everybody is singing about love. The only other recent movie I can think of to compare this movie to, in order to give you an idea of what to expect is a movie Woody Allen made a few years back called "Everyone Says I Love You". Both films carry a sentimentality of 30's cinema.

Gilberte Valandray (Sabine Azema) is married to Georges (Pierre Arditi) but has a lover, Charley (Jalil Lespert) now is just so happens that Huguette a friend secretly has a crush on Charley and wants to marry him. So the two women fight for his attention. Now Georges is a business man who is about to close a big deal for his company with an American, Eric Thomas (Lambert Wilson). But, what Georges doesn't know is that Gilberte was married before to Eric. Now Gilberte and her sister, Arlette (Isabelle Nanty) must try an convince Eric not to reveal Gilberte's secret. But Eric is still in love with Gilberte. And that's "Not On The Lips" is a nutshell. It's really a broad bedroom farce, though I don't know if that term is used anymore.

I found that I enjoyed most of the musical numbers which come from a 1920's comic opera written by Andre Barde. The last three songs I didn't like especially a song about a key hole.

Now that you know the plot I think it's fairly easy to decide if this is "your kind of movie". If you've enjoyed past films from Resnais, this should please you. If you've never heard of Alain Resnais but like old-fashioned musical-comedies, this just please you as well. I hope many people make an effort to see this gem of a movie.

Bottom-line: One of the best films I've seen this year. A throwback to the musical\comedies of the 1930's. Greatly inspired by the Hal Roach comedies.

A Delicious Bon Bon of Musical French Fluff
PAS SUR LA BOUCHE is a beautifully wrapped French confection that brings to the screen a performance of a French operetta by the same name.One may question why, in 2003, anyone would want to devote time and money to a story so light and Feydeau-farcical and, even more, why a director of the stature of Alain Resnais would be at the helm.Well, take a deep breath, swallow credibility, and sit back and enjoy this glittering little piece for what it is - entertainment.

As in musicals of the 1920s around the world (especially those in the USA!) the story is about love, misinformation, tricks, covering past affairs, and the usual nonsense of play within the play.The story is unimportant: the pleasure is all in the technique of the actors/singers who treat this light score with just the right amount of magic to make it work.Audrey Tautou, Sabine Azéma, Isabelle Nanty, Pierre Arditi, Jalil Lespert, Daniel Prévost, and Lambert Wilson give it their all.

Resnais' hand is evident in the stage movement, use of mirrors and disappearing exits.Even the titles and ending credits keep the candy going. For those who are not fluent in French, the subtitles will draw focus: the singing and dialogue are so rapid that there is little time for the eye to stray to the characters!In all, not a film for everyone, but if French farce is your cup of tea, it doesn't get more charming than this!Grady Harp, April 05

Delightful French Operetta, or Lightweight Musical Comedy
Perhaps you want to know something about the star of 'Amelie' first.But facts first.Based on the operetta first staged in 1925, 'Not on the Lips' ('Pas Sur La Bouche!') is a lightweight musical comedy, starring Sabine Azema, Isabella Nanty, Audrey Tautou, Pierre Arditi, Darry Cowl, Jalil Lespert, Daniel Prevost, and Lambert Wilson (the mysterious French character in 'Matrix Reloaded/Revolutions').

So this is a comedy with ensemble cast.Regardless of what you see on the DVD cover, Audrey Tautou's role is not big, but not small.That, however, does not change the fact that 'Not on the Lips' is a fun to watch for the fans of operetta, or kind of silly but delightful, old-fashioned farce with little songs and neat art deco.

The film, which does not hide its stage origin, is divided into three 'acts.'The story starts when George (Arditi) rather pompously tells of his theory about love -- he says, to any woman, the first love is always the best love.Little does he know that his wife Gilberte (Azema) was (fleetingly) married to an American, one Eric Thompson (Wilson), and to her great surprise, Eric is coming to her house as her unsuspecting husband's business partner.

Thus, as the rules of farce, the mistaken (and hidden) identities and door slamming complicate the situations.Things get more confusing (and funny) when starry-eyed Huguette (Tautou) falls in love with the hunky 'artist' Charley (Lespert), who in turn chases Gilberte .... and so on an on.Can't you follow the relations now?It's okay, anyway, you can when you see the film itself.

The film is full of playful songs (sung by the cast), and they are mostly enjoyable, though they might sound repetitous.The problems is not that; it is, probably non-French-speaking audience would not fully appreciate the joy that these songs and dialogus convey.(I must confess that I, being a Japanese, couldn't.)Plenty of puns like 'Cubism' and 'CooCoo-ism' could be heard, but many of them just flew over my head.

And as the film retains some of the now out-of-date values and manners (intentionally, I guess), you may be slightly embarrassed, hearing the phoney 'American' English -- hear Lambert Wilson's 'WHATDDYA SAY' -- or seeing a hunk who looks like Rudolph Valentino.

But the film succeeds in creating the joyful mood, and though the contents are slight, it is great to see the glitteringly gorgeous costumes that none of us would wear today.For someone like veteran director Alain Resnais ('Last Year at Marienbad' and many many others), it must be an easy job.(By the way, he was born in 1922.)

It's a fluff, to be sure, but in a way it's an admirable job, for, even among the recent revival of musicals, no one can and would make a film like this today -- these charming songs you might hear on old LP records, the fluffy clothes, and talk about 'resque' that is no longer 'risque' these days.You may like it, ot hate it.I happen to like it, and charming Audrey Tautou too,that's why 4 stars. ... Read more

Reviews (7)

What Film Should Be
This picture has compelling drama that ranks with the height of American film in the '40s and '50s and insightful intellectual themes that proves it to be a forerunner of modern works like "Waking Life." Thoroughly engaging, trying and reasonably positive in the end. A masterpiece.

Poor DVD quality aside, this release is WELL worth the price
There are certain directors whose films can survive even the worst video transfers, and Resnais is one of them. Not that New Yorker Video should not be chastized for giving us yet another scandalously poor video and audio transfer of a classic film. Rather, one should not let the poor DVD quality deter one from buying this DVD, as Resnais' MON ONCLE d'AMERIQUE is masterful and argueably the director's greatest achievement. To be completely honest, in my humble opinion Resnais is the greatest living director. For what it is worth, I have seen everyone of his feature films, including everything in the 80s and 90s, and I find this picture to be the most compelling. Having carried out his most rigorous investigation of the time and memory of personal consciousness in "Je T'aime, Je T'aime," Resnais' work in the 70s undergoes a gradual shift in emphasis toward a time and memory belonging to community. At the risk of sounding overly reductive, one might locate the decisive moment of this shift in "Providence," in which the radically subjective, stream of consciousness narrative is completely undermined in the film's epilogue. In reflecting on Mon Oncle d'Amerique, I think it is paramount that one sees the film in the context of this decisive shift (which is not to say that Resnais simply abandons his earlier project). The film produces some of the most extraordinary images of time and memory reconfigured from the standpoint of community, and argueably marks the director's crowning achievement. One need look no further than the opening sequence in which a camera circles around a canvas comprised of still shots from scenes in the film, such that already at the film's outset the viewer is confronted with an image of the whole.

Having laid out this context, I strongly disagree with the general presupposition, betrayed in Maltin's summary and many of the customer reviews below, that Resnais has somehow attempted here to illustrate the behavorial theories of Henri Laborit. Resnais himself (in the DVD notes) expressly rejects this reading, which is nowhere corraborated by the film itself. He explains that in the film he has tried to set the biologist's theories and the narrative side by side, such that the two elements can co-exist, without either one dominating the other. The unmistably ambivalent tone of the ending testifies to the success with which Resnais has executed this vision. The superb direction and screenplay are supported by an outstanding score and an excellent cast. I cannot recommend this DVD more highly.

Terrible audio and video.
I don't know about the actual movie... The DVD audio is just awful -- imagine the distortion you get when the volume is set higher than cheap computer speakers can handle, now imagine getting this distortion every time somebody speaks no matter what volume your tv is set at.

Also, people move at the wrong speed, and not even a "consistent" wrong speed. The subtitles are part of the picture; they can't be turned off.

Resnais' best film as far as I know.
I haven't seen 'Smoking and Non-Smoking' and not that singing film he did recently, but otherwise I'm pretty well informed about Resnais and amongst his other work I rank this film as being his best.

It lacks many of the 'arty' touches, that Resnais otherwise and most regrettfully endulges in. This one tells it to you straight - most people live lives that resembles what rats do in captivity or otherwise. The comparison is most amusing but there is a very serious side to it as well. In the end Resnais states: "As long as we do not realize that we use the cortex of our brains chiefly in order to dominant others, then nothing can change." Power'full' (powerless really, since directed against power) words indeed.

People break their necks in order to fit in or make a career, which in truth is as rediculous as when Stan Laurel speaks of it in that wonderful short "Their First Mistake". When will this madness of competition between people cease in order to leave room for a competition directed towards your own ability to enhance your consciousness instead? When will competition for competitions sake alone cease, a competition which does not even care about what it is competing about, as, for instance, present competition of market economy, which is just a competition about the 'skills' of cheating one another? That is the question and Resnais doesn't have the answer but at least he poses the question.

Minor Resnais
*Mon Oncle d'Amerique* is a smoothly crafted, occasionally funny, but ultimately rather thin exploration of the theories of behavioral psychologist Henri Laborit. Juxtaposing interviews with Laborit that feel like lectures with fictional scenes illustrating his theories, it all feels more than a touch diagrammatic. Laborit's ideas allow Resnais to explore his familiar interests in time and memory, but the film never escapes an air of cute pointlessness. The idea of mixing didactic material with fictional constructions is certainly intriguing, but this example of it isn't much more than a promising sketch.

Though certainly not "sketchy" or "unfinished." With the possible exception of the rather tepid *Je t'aime, Je t'aime,* Resnais seems incapable of making a film that isn't polished to the nines. Once again we're treated to the smooth camera moves of *Marienbad,* the artful editing of *Stavisky* and *Hiroshima, mon amour,* the lovely, delicate shots of the seaside first seen in *Muriel.* Although New Yorker's transfer is never much better than adequate (and would be improved considerably by being presented in a widescreen aspect ratio), it's good enough to prove to any doubters Resnais's consummate technical finesse.

Unfortunately, the film also supports the criticism frequently leveled against the director, that in the pursuit of exquisite form, he abandons all interest in character. I don't agree with this criticism. (Even if I did, I don't know why anyone feels comfortable dismissing "mere" formal perfection as if it were an everyday occurrence.) Nonetheless, with Laborit quietly intoning every few minutes, it's far too obvious that the characters are being pushed this way and that to fit his theories, walking through a demonstration rather than living convincing lives.

Maybe the film needs a bit more skepticism. There are sardonic touches at the edges. For example, when one character high on the bureaucratic ladder arrives at work, everyone in the hall he passes makes a point of shaking his hand. We realize he's fallen when he arrives and everyone looks away from him. There's nothing that undercuts Laborit's basic thesis, however. If Resnais felt as playful with the ideas as he does with the characters (he occasionally has them acting out their aggressions dressed in rat costume, for example), if he weren't so impressed and convinced by them, the film would have more spark. Instead, *Mon Oncle d'Amerique* is a neatly turned experiment, defined and limited by the validity of Laborit's theories. ... Read more

Amazon.com

One of the most ferociously iconoclastic and experimental films of the French New Wave, Alain Resnais's 1961 feature, winner of the grand prize at that year's Venice Film Festival, is based on a script by Alain Robbe-Grillet. At its center is what seems to be a simple but unanswerable puzzle: Did its protagonist (Giorgio Albertazzi) have an affair the year before with a woman (Delphine Seyrig) he just met (or possibly re-met) at his hotel? The inquiry becomes an unsettling experiment in flattening the dimensions of past, present, and future so that any difference between them becomes meaningless, while Resnais's coldly formal but oddly dreamlike geometric compositions make space itself seem a function of subjective memory. Add to that Resnais's trademark tracking shots--long, smooth, a visual correlative of a wordless feeling--and this is a film that truly gets under the skin in almost inexplicable ways. One of the most influential works of its time. --Tom Keogh ... Read more

Reviews (61)

A museum of hermetic beauties
This enigmatic film still hasn't yielded all of its mysteries - mostly because the viewer is awarded complete freedom to give its intricate rythms and figures the significations he or she perceives. The brilliant soundtrack, which combines a textured set of voice-overs and somber organ music, induces reverie... but a reverie highlighted by brief and unforgettable nightmares ('Marienbad' is unsettling to a degree that few movies are). The film's world is above all artistic: it is a 90-minute visit inside a museum of mirrors, statues, photographs and paintings; the characters themselves assume all of these roles over the course of the work. The cinematic image feeds on other images - some are seen in mirrors, others come from illustrations. Everything, from theme to form, is absorbed and transformed by art; this is in line with the notion of "l'art pour l'art" championed by 'Marienbad' writer Robbe-Grillet at the time. The film also has connections with Resnais' own work: memory is as much preserved as it is artistically constructed, and 'X' (Albertazzi) can be read as an artist-figure - something Resnais would return to in 'Providence' (1976). It is tempting to envision the Marienbad chateau and its surroundings as a dedalian labyrinth whose Minotaur lies just out of reach... but this is only one possible reading among countless others. This unique masterpiece should be seen again and again.

avant garde masterpiece
This film is the most radical, experimental and surreal film ever made to this day. Nothing done by any other filmmakers before or since compares to its violation of ordinary modes of cinema, and yet, it establishes its own reality which is perfectly understandable, once one is mesmerized by its beauty.

It is easy to do so, as the film is shot with an immaculately clean and smooth black and white style in an enormous and picturesque resort, with the most elegant and beautiful french actors of the day.

However, the film is far more than picturesque. The writer, Robbe-Grillet, is one of the greatest innovators of 20th century literature and cinema. He stated in the introduction to the published version of the script that his desire was not to confuse the viewer, but to present something closer to what one actually experiences in everyday life than what is given in ordinary storytelling - a combination of present experience, past memories, and future anticipations, all of which are equally important because in the mind, they are so. One does not live life like a storybook - one lives it within the universe of human consciousness, which is exceedingly difficult and complex to record. This is one of the few films to attempt just that.

This DVD is an excellent quality transfer, and the subtitles can be turned off if you want to see the entire screen-image.

ZZZZZZZZZzzzzzzzzz.........
The most tedious film I've ever seen. I had to watch it in film school and I nearly went out of my mind with boredom. VERY hard to sit through. You keep waiting for a story to emerge and it just never does. I suspect that the whole thing might have been a grand joke on the part of the director ... make a nonsense "art" film and see what significance his audience reads into it!!

The classic conflict
A chronicle of what happens when the truth comes knocking in your life. At first the wild love affair while on holiday, but an affair only: When this heart comes back to carry you off for good, there's denial, conflict, and ultimately the hard choice between it and your stalwart, practical mate: the life you'd been leading so comfortably, so accommodatingly, for so long. Enthralling.

PUZZLING SURREALISM. INTERPRET AT WILL.
I've seen many a quaint film in my time, but this one absolutely takes the cake. It came recommended aggressively by a friend who studies film, reason enough for me to be coaxed into renting it.

Let's start with the (semblance of a) plot. It's a seductive story about a handsome nameless man called X, who tries to persuade a, possibly, married elegant nameless woman called A that they met the previous year and had an affair at a spa called Marienbad -- or was it perhaps Fredericksburg? She's a guest at the hotel with her husband or escort, who is referred to only as M and seems to have some control over her. The stranger convincingly goes on to say that she promised to run away with him if he could wait a year. But the truth of that is never made certain, as the women though repeatedly reminded of things that happened at the spa says she can't recall them.

The film moves obsessively between dimensions of time and space, something that may rattle the unprepared viewer. Mind you, it's in black and white, if that sort of thing bothers you (it did me).

So, what was it about? Was it a parody of the typical gloss of a Hollywood romantic film? Or just wonderful nonsense elevated to magnificence? I can't be sure. How one takes to such a deceptively ambiguous film depends on one's attitude toward unconventional films. Reeks of a game of kitsch, but nevertheless was pleasingly entertaining and suitably intellectual. If nothing else, take it for a ride to test your endurance and interpretation. ... Read more