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Last Year at Marienbad [Blu-ray]

Delphine Seyrig (Actor), Giorgio Albertazzi (Actor), Alain Resnais (Director) Rated:
NR
Format: Blu-ray
4.5 4.5 out of 5 stars 485 ratings
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Genre Drama
Format Subtitled, NTSC
Contributor Giorgio Albertazzi, Delphine Seyrig, Alain Resnais
Language French
Runtime 1 hour and 34 minutes
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From the manufacturer

Kino Lorber Classics

The classic arm of Kino Lorber offers many of the greatest films from the past, both silent and sound, for the discriminating viewer, from historical silents through the French new wave.

Product Description

Winner of the Golden Lion at the 1961 Venice Film Festival, Last Year in Marienbad (1961) is a hypnotically beautiful puzzle box of a film, and one of the most influential in history. Alan Resnais's sensuous tracking shots and Delphine Seyrig's iconic Chanel gowns have become part of the cinematic lexicon, and can now be seen in a gorgeous 4K restoration from StudioCanal. In a large international hotel in the European resort town of Marienbad, with a sumptuous but austere décor-a marble universe with gold paneling, statues, and stuff servants-the rich, anonymous, idle clientele circulates. A man (Giorgio Albertazzi) is convinced he met an enigmatic woman (Seyrig, Jeanne Dielman) the previous year at the same location, and perhaps had a flirtation. A second man (Sacha Pitoëff, Inferno), possibly the woman's lover or husband, repeatedly intimidates the first man. Their relations unfold through flashback shards that never quite fit into place, their lives a hall of mirrors that never reveal a true self.

Product details

  • MPAA rating ‏ : ‎ NR (Not Rated)
  • Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 0.01 ounces
  • Director ‏ : ‎ Alain Resnais
  • Media Format ‏ : ‎ Subtitled, NTSC
  • Run time ‏ : ‎ 1 hour and 34 minutes
  • Release date ‏ : ‎ August 20, 2019
  • Actors ‏ : ‎ Delphine Seyrig, Giorgio Albertazzi
  • Subtitles: ‏ : ‎ English
  • Studio ‏ : ‎ Kino Classics
  • ASIN ‏ : ‎ B07T2LX57J
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.5 4.5 out of 5 stars 485 ratings

Customer reviews

4.5 out of 5 stars
485 global ratings

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Was Ist Das, “Isbisa”?
5 out of 5 stars
Was Ist Das, “Isbisa”?
One of the great enigmas of post-war cinema, this film has been lauded as an experience rich in layered meanings, and dismissed as one of the most pretentious and unwatchable films ever made.Its obscured meanings are revealed less by the works of film critics, and moreso by seeing it in context of Alain Resnais’ prior work, and in his obsession over the tensions between memory and reality.This understanding gives weight and depth to instances where we see a character interacting with others, whom we see only through a mirror hanging next to them.Also, the location in the title had once been an opulent and popular European resort, which, by the time of the film’s release, had long since closed and become a ghost town due to events following WWII, and could not have hosted incidents from just a year earlier. (Imagine a 2024 film taking place in 2023 titled **Yesterday, Between the Twin Towers**.)Also, for Americans familiar with the movie The Shining, it helps to know that Stanley Kubrick was inspired even more by this film in his approach to the story than he was by Stephen King‘s book.(There are also hints at the notions of penetration and violation here, but those are even more oblique than the other themes.)Filmed masterfully in ways that are inconspicuous, there’s a longshot of the estate’s garden, where none of the trees or shrubs cast shadows – shadows are cast only by the guests who populate it, and stand as still as statues. (Those shadows were all painted on the ground, while the lighting eliminated any shadows from anything else. For an example of seeing this film in the context of the Resnais’ earlier work, think of this in the context of the shadows created by the bomb that was dropped on Hiroshima.)Rarely before had such subtle unreality been filmed so convincingly.So, this film is essentially a ghost story without any ghosts, and a retelling of events that never happened, in a place that no longer existed in the time it takes place.A perfect film for people, who like to think abstractly, while material beauty unfolds on the screen before them.PS: A “Boo” to KINO for snatching this film away from the Criterion Collection, and kudos to them for doing such a responsible job on this excellent 4K release.(Also, the extras provided here, including the commentary track by Tim Lucas, are well done and edifying.)Lastly, watching this film between Carnival of Souls and The Shining would make for an excellent Halloween triple-feature.
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Top reviews from the United States

  • Thomas Kane
    5.0 out of 5 stars Was Ist Das, “Isbisa”?
    Reviewed in the United States on October 14, 2024
    Verified Purchase
    One of the great enigmas of post-war cinema, this film has been lauded as an experience rich in layered meanings, and dismissed as one of the most pretentious and unwatchable films ever made.
    Its obscured meanings are revealed less by the works of film critics, and moreso by seeing it in context of Alain Resnais’ prior work, and in his obsession over the tensions between memory and reality.
    This understanding gives weight and depth to instances where we see a character interacting with others, whom we see only through a mirror hanging next to them.
    Also, the location in the title had once been an opulent and popular European resort, which, by the time of the film’s release, had long since closed and become a ghost town due to events following WWII, and could not have hosted incidents from just a year earlier. (Imagine a 2024 film taking place in 2023 titled **Yesterday, Between the Twin Towers**.)
    Also, for Americans familiar with the movie The Shining, it helps to know that Stanley Kubrick was inspired even more by this film in his approach to the story than he was by Stephen King‘s book.
    (There are also hints at the notions of penetration and violation here, but those are even more oblique than the other themes.)
    Filmed masterfully in ways that are inconspicuous, there’s a longshot of the estate’s garden, where none of the trees or shrubs cast shadows – shadows are cast only by the guests who populate it, and stand as still as statues. (Those shadows were all painted on the ground, while the lighting eliminated any shadows from anything else. For an example of seeing this film in the context of the Resnais’ earlier work, think of this in the context of the shadows created by the bomb that was dropped on Hiroshima.)
    Rarely before had such subtle unreality been filmed so convincingly.
    So, this film is essentially a ghost story without any ghosts, and a retelling of events that never happened, in a place that no longer existed in the time it takes place.
    A perfect film for people, who like to think abstractly, while material beauty unfolds on the screen before them.
    PS: A “Boo” to KINO for snatching this film away from the Criterion Collection, and kudos to them for doing such a responsible job on this excellent 4K release.
    (Also, the extras provided here, including the commentary track by Tim Lucas, are well done and edifying.)
    Lastly, watching this film between Carnival of Souls and The Shining would make for an excellent Halloween triple-feature.
    Customer image
    Thomas Kane
    5.0 out of 5 stars
    Was Ist Das, “Isbisa”?

    Reviewed in the United States on October 14, 2024
    One of the great enigmas of post-war cinema, this film has been lauded as an experience rich in layered meanings, and dismissed as one of the most pretentious and unwatchable films ever made.
    Its obscured meanings are revealed less by the works of film critics, and moreso by seeing it in context of Alain Resnais’ prior work, and in his obsession over the tensions between memory and reality.
    This understanding gives weight and depth to instances where we see a character interacting with others, whom we see only through a mirror hanging next to them.
    Also, the location in the title had once been an opulent and popular European resort, which, by the time of the film’s release, had long since closed and become a ghost town due to events following WWII, and could not have hosted incidents from just a year earlier. (Imagine a 2024 film taking place in 2023 titled **Yesterday, Between the Twin Towers**.)
    Also, for Americans familiar with the movie The Shining, it helps to know that Stanley Kubrick was inspired even more by this film in his approach to the story than he was by Stephen King‘s book.
    (There are also hints at the notions of penetration and violation here, but those are even more oblique than the other themes.)
    Filmed masterfully in ways that are inconspicuous, there’s a longshot of the estate’s garden, where none of the trees or shrubs cast shadows – shadows are cast only by the guests who populate it, and stand as still as statues. (Those shadows were all painted on the ground, while the lighting eliminated any shadows from anything else. For an example of seeing this film in the context of the Resnais’ earlier work, think of this in the context of the shadows created by the bomb that was dropped on Hiroshima.)
    Rarely before had such subtle unreality been filmed so convincingly.
    So, this film is essentially a ghost story without any ghosts, and a retelling of events that never happened, in a place that no longer existed in the time it takes place.
    A perfect film for people, who like to think abstractly, while material beauty unfolds on the screen before them.
    PS: A “Boo” to KINO for snatching this film away from the Criterion Collection, and kudos to them for doing such a responsible job on this excellent 4K release.
    (Also, the extras provided here, including the commentary track by Tim Lucas, are well done and edifying.)
    Lastly, watching this film between Carnival of Souls and The Shining would make for an excellent Halloween triple-feature.
    Images in this review
    Customer imageCustomer imageCustomer imageCustomer image
    9 people found this helpful
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  • Grady Harp
    5.0 out of 5 stars Memory, Imagination, Fantasy, Delusion
    Reviewed in the United States on July 28, 2010
    Verified Purchase
    LAST YEAR AT MARIENBAD (L'année dernière à Marienbad) burns its way into the psyche the way few other films have. For many of us this film remains the favorite film ever seen since we saw it during its initial release in 1961 - becoming the topic of college classes in the arts, in psychology, in cinema, and in late night dorm conversations. Alain Resnais holds a special place in cinematic history for all of his films, but this intoxicatingly bizarre passageway through the corridors of either memory or delusion is not only a bit of genius writing (Alain Robbe-Grillet), exquisite cinematography by Sacha Vierny, and haunting organ music by Francis Seyrig, it is a creation of a moment frozen in time so perfectly crafted that after fifty years it remains a masterpiece.

    The story is presented in fragments, conversations, voice-over repetitions of description of time and place, frozen idylls of elegantly dressed men and women, and the interplay between nameless characters who either did or did not have an affair a year ago. The film allows us to enter that realm of imagination or terror of disturbed memory, searching for reasons to believe what we are hearing and seeing as truth or as fiction. Shot in gorgeous black and white (and for once the shades in the spectrum from white to black play a major role in this film), the film wanders through the baroque quiet corridors of a grand hotel (is it Marienbad or another spa?) accompanied by the eerie organ music and a narrator who repeats lines over and over, varying each repetition until the mind state narration becomes the spoken words of a handsome man with an Italian accent simply called X (Giorgio Albertazzi) who is convinced that a year ago he had an affair with a beautiful woman called A (Delphine Seyrig): the woman remembers little things but in general denies the memory pieces of X, frequently saying 'leave me alone' while X continues to attempt to prove to A that they did indeed have an affair and planned a life together but the plan ended with A saying she needed more time - A is apparently married to M (Sacha Pitoëff). There are many moments of clues such as the strange game X plays with M, the constant returning to a statue of a man and woman in the sculpted gardens, the looks across salons, the stairs, the corridors, the mirrors, the shooting gallery. All of this refuses to tell a linear story but instead challenges us to create our own version of what happened last year - at Marienbad or somewhere or not at all.

    The criterion edition comes with an additional CD explaining the history of the film, the making of the film, and other additive moments that are meant to make the film more accessible. But the beauty of LAST YEAR AT MARIENBAD is, in the end, the fact that like so many works of art, the truth is in the mind of the observer. It is intoxicating and unique and inimitable. It is sad to note that Delphine Seyrig died of lung cancer in 1990 and likewise Sacha Pitoëff died the same year. Giorgio Albertazzi's career was basically limited to this one film. That leaves the viewer with the feeling that this little perfect jewel of a film is irreplaceable and will remain timelessly successful for lovers of fine cinematic art - and for those who are similarly obsessed with memory and the loss of memory. Grady Harp, July 10
    25 people found this helpful
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Top reviews from other countries

Translate all reviews to English
  • M. R. Johnson
    5.0 out of 5 stars Marienbad is quite good
    Reviewed in France on May 16, 2010
    Verified Purchase
    This remastered DVD of the classic "Last Year in Marienbad" is superbly done. I watch it at least once a week. Mesmerizing. And the commentary explaining the history of the film is a great bonus.
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  • やすひろ
    5.0 out of 5 stars 濃厚に伝わってくる「死の気配」と映像美
    Reviewed in Japan on June 25, 2019
    Verified Purchase
    コアな映画ファンではないものの、名画座でなければ旧作映画を鑑賞出来ない時代からヨーロッパ映画に触れて来ましたが、これ程特異な作品は他にないと思います。勿論、良い意味でです。
    何度も繰り返される台詞、流れ続けるオルガンの不協和音、人物が静止している中でひたすら移動するカメラワーク。
    およそ1時間半の間集中を強いられる、或いは全面的に興味を放棄させ兼ねない、確信犯的な仕掛けが続きます。
    よくぞこれが商業映画になったものですね。
    無論、商業映画だからこそ、時間と労力を掛けた映像美が堪能出来るのですが。

    この映画には、登場人物全員幽霊説や核戦争後の地球説を含め、実に様々な解釈があるのだとか。
    それらはさて置き、物語が深夜（に上演されている演劇）に始まり、深夜（の演劇終演時間）に終わること。
    明らかに「吸血鬼」のイメージが伝わる、主要登場人物「M」の表情や佇まい。
    そして、断片的に挿入された「射殺」や「強姦」、「撲殺」を想起する場面。
    そのいずれからも、「死の気配」が濃厚に伝わってくると感じました。

    因みに、他の同作品収録商品と比較して、このパッケージは「ジャケ買い」だと思います。
    視聴された方はお解りの通り、このパッケージに使用されている庭園の遠景場面は、本編中の映像とは別ものです。
    主人公「A」と「X」と思しき男女二人が、奥へと進んで行く様にも、その場に立ちすくんでいる様にも見えます。
    それが作品中に登場する男女の彫像ともリンクしているのではないかという想像を掻き立てて、とても興味深いです。
    手前にレイアウトされている「A」ことデルフィーヌ・セイリグの表情も、次なる「何か」を予感させる様で大変秀逸。
    また、かなり充実した内容の解説書が付属しているのも嬉しいですね。
    好き嫌いは別にして、一度は視聴する価値のある映画ではないでしょうか。
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  • Kurt Gayle
    5.0 out of 5 stars but Rarewaves-CA gave me such excellent, attentive
    Reviewed in Canada on May 19, 2015
    Verified Purchase
    This is a Region 1 DVD which I am unable to play, but Rarewaves-CA gave me such excellent, attentive, forgiving customer service -- and helped me to deal with the situation without any penalty paid on my part -- that I've forgotten my ordering mix-up and I think only that these folks mightily deserve Five Stars -- or even Ten!
    Report
  • effe ci
    5.0 out of 5 stars Buona versione di un classico del 1961
    Reviewed in Italy on April 21, 2020
    Verified Purchase
    Film celebre, amato e detestato in pari misura. Si ricorda che al tempo in cui veniva proiettato nelle sale non pochi spettatori uscivano prima della fine. Comunque un film così, che ha veramente portato qualcosa di nuovo (realizzato nel 1960 uscì nel 1961, anni cruciali, come si sa, per il cinema) non può, a parer mio, meritare meno del massimo voto. Bravi i tre attori (a parte forse Albertazzi che sembra spesso un po’ spaesato), inarrivabile, per classe e fascino straniante, Delphine Seyrig in un ruolo che rimarrà eterno nella storia del cinema. Qualcosina da dire ci sarebbe sul dvd: buona resa video e audio, ma peccato per i sottotitoli assai vistosi che non si possono eliminare. La versione è quella originale, i sottotitoli in inglese, mentre il dvd da me acquistato è quello, appunto inglese, della Optimum, tratta dalla versione Studio Canal, del 2005. Ce ne fu una Criterion del 2009, disprezzata da Resnais per la effettiva distruzione dell’audio originale, perché il restauro alterava suoni e voci in maniera tale da renderli quasi irriconoscibili a chi conosce la versione originale. Questa comunque è sicuramente buona - a parte il piccolo problema dei sottotitoli - anche per l’inclusione di due ottimi documentari, uno dei quali, Toute la mémoire du monde, del 1956, appare su molti dvd di film di Resnais, ma in questo caso ha veramente senso, per molte analogie, nella modalità di ripresa e in un certo senso di alterazione temporale, fra i due film. In più, questa versione del documentario è la prima che vedo restaurata, e anche bene.
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  • hvl
    5.0 out of 5 stars Wahn und Wirklichkeit - Erinnerung und Projektion
    Reviewed in Germany on January 8, 2013
    Verified Purchase
    “My soul has not yet passed to the image…”
    Adolfo Bioy Casares

    'L'Année dernière à Marienbad' ist ein Versuch über die Unentwirrbarkeit der Wünsche, die von ihnen geprägte Erinnerung, die immer wieder hereinbrechende Realität und die Vergeblichkeit ihrer Verdrängung.
    Formal ist es das Spiel mit den Ebenen der Phantasie - ein Theaterstück, ein Buch, ein Film können Zeit und Raum aufbrechen, verschiedene Momente und Orte zu neuen Einheiten formen.
    Aber: Fast alle Rezensenten haben den formalistischen Aspekt, den - essentiellen - Anteil von Robbe-Grillet an dem Film kaum wahrgenommen. Wollten sie es nicht, konnten sie es nicht? In der Quintessenz ist das unerheblich - diese strukturalistische Phase des Versuchs einer neuen Sicht auf die Welt ist schließlich vorbei, "erfolgreich" überwunden, würden die meisten wohl sagen.
    Allerdings bleibt die Frage unbeantwortet, ob es den Geist - als Gegensatz zur physischen Realität - überhaupt gibt; sie wird erst gar nicht gestellt. Wahrscheinlich ist sie, nicht nur von und für Franzosen, bis heute einfach nicht (vor-) stellbar, 2000 Jahre abendländische Ideologie sitzen immer noch allzu fest.
    Lineare Erzählstruktur (Pseudorealität), große Gefühle (Das Wesentliche), sind weiterhin gültige Prämissen. Jenes: Ich finde mich in der Geschichte wieder und ich habe es eigentlich schon immer gewußt, wenn auch vielleicht nicht ganz genau so und nicht ganz so genau, aber dafür bin ich schließlich ins Kino gegangen - jedenfalls fühle ich mich bestens bestätigt, es ist alles wie immer... Vielleicht ist die große Oper doch die "Ultimate Form".
    Mit diesem Wissen läßt sich beruhigt ins Bett gehen - und nach der "Besichtigung" eines dazu passenden Films kann "man" restlos zufrieden sein. Erstens ist man gebildet - man hat ihn immerhin "verstanden" auf die eine oder andere Weise - und zweitens weiß man anschließend besser als vorher, daß man richtig lag und liegt. Welch ein Erfolg.
    Im Gegensatz dazu ist 'Letztes Jahr in Marienbad' der reine Manierismus, klarer und purer hat es derartiges wohl noch nicht gegeben. Und das ist Absicht, vielleicht nicht als Manierismus, aber jedenfalls als ästhetische Voraussetzung; nichts, rein gar nichts wird dem Zufall überlassen, die kleinste Geste, das geringste Detail sind kalkuliert; arrangiert wie die Ornamente an den Wänden, das Tafelgeschirr auf den Tischen, die Menschen in den Hallen, niemand hat die Möglichkeit, etwas zu tun, zu sein, was nicht von außen vorgegeben ist. Eine in dieser Form gedachte Welt wirkt nicht befreiend, sie ist bedrohlich, keiner der Akteure in ihr kann sich auch nur ansatzweise sicher fühlen - Manipulation, wann und durch wen auch immer droht unter den Bedingungen einer beliebigen Reversibilität der Geschehnisse.
    Genau deshalb, wegen dieser Beliebigkeit, scheint auch die gegensätzliche Situation möglich; in seinem Ende deutet der Film an, daß die Manipulierbarkeit durch Außenstehende doch Fiktion bleibt. Fiktion genau so weit, wie ein Film alle Möglichkeiten der Handlungsweise seiner Protagonisten zwar darstellen und bestimmen, aber nicht die außer ihm liegende Realität vorherbestimmen kann.
    Er kann es ebensowenig, wie diese Vorherbestimmung dem Protagonist in Bioy-Casares' Erzählung 'La invencion de Morel' möglich ist, die Robbe-Grillet als Anregung für seinen plot verwandte (Robbe-Grillet verweist nirgends explizit auf Bioy-Casares, kannte die Erzählung aber; selbst "Marienbad" als Ort der Handlung findet man bereits in 'La invencion de Morel'). Bioy-Casares' Protagonist kann am Ende seiner ganzen Imaginationen auch nicht die "Realität" der anderen Personen seiner Umgebung beeinflussen, im Gegenteil. Sie alle sind Bestandteile eines 3D-Films, der vor den Augen des einsamen "realen" Menschen auf der Insel der Handlung spielt. Der Protagonist muß in dieser Erzählung seine eigene Existenz verlassen, um möglicher Teilnehmer des "Lebens" der Anderen zu werden, muß sich zu einem Teil des Films machen, den er immer wieder sieht. Wenn und weil er eine Beziehung zu der geliebten Frau eingehen möchte, die er in diesem Film findet, die er haben will, muß er sein Leben aufgeben, muß sich den Bedingungen der "Film"-Handlung unterwerfen, muß sich selbst vernichten, wenn er die Gemeinschaft mit den "Anderen" herstellen will... Aber selbst selbstmörderisch kann er nicht mehr als hoffen, seine Geliebte erreichen zu können, es gibt keine Sicherheit - vielleicht wird er Teil eines Films, nicht jenes Films sondern einer Parallelprojektion, neben seiner Geliebten, aber nicht bei ihr.
    Hm, wollten wir so etwas?
    Allen Qualitäten des Films zum Trotz - und es gibt viele - die Kamera ist perfekt, die Filmsets sind superb, die Arrangements der Details grandios, das Tempo stimmt zu jeder Sekunde - bleibt eine "übernatürliche" Tatsache, die man nicht erklären kann, die auch nicht wiederholbar ist: ohne die Schauspielkunst von Delphine Seyrig wäre die ganze hochartifizielle Chose unhaltbar abgestürzt, der Film immens gescheitert und - dann mit Recht - längst vergessen. Kunst ist - as can.
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