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SIMULACRA

Last Year at Marienbad

Alain Resnais1961Filmed at palaces outside Munich, including Schleissheim and NymphenburgFILM

A film made of corridors, mirrors and a formal garden, where the same encounter is replayed until nobody can say which version is memory.

Last Year at Marienbad (1961). Guests standing apart in the formal garden.

PHOTOGRAPH Still: Last Year at Marienbad (1961), as published by the Criterion Collection / criterion.comReferenced from its source. Rights not established by SIMULACRA.

Plates 3

Overview

Alain Resnais's second feature, written by the novelist Alain Robbe-Grillet. At a grand hotel somewhere in Europe, a man the screenplay calls X (Giorgio Albertazzi) tells a woman called A (Delphine Seyrig) that they met last year, fell in love and agreed to leave together. She denies it. M (Sacha Pitoëff), who may be her husband, beats X at the game of Nim every time they play.

The building is the main subject. Scenes come back with their details changed: her remembered bedroom is bare in one version and ornate in another, and the gardens are a maze of shrubs one time and straight formal alleys the next. The voice-over and the images often disagree.

Credits

Cinematography
Sacha Vierny
Production design
Jacques Saulnier

What to notice

  1. 01A garden that will not stay putWatch the grounds each time they return. Polizzotti points out that they switch between a shrub maze and grand straight alleys. The layout is a variable, not a fact.
  2. 02Corridors as the camera's routeThe long tracking shots down palace corridors have a pendant in Resnais's 1956 documentary Toute la mémoire du monde, which moves the same way through the Bibliothèque nationale.
  3. 03Posed, not actedVierny's photography holds the guests in a fixed, hieratic stillness that Polizzotti compares to the fashion photographs of Helmut Newton and Philippe Halsman. Seyrig's black bob and the Chanel dresses belong to the same look.
  4. 04Hitchcock in the framePolizzotti notes a ghostly profile of Alfred Hitchcock at screen right about eleven and a half minutes in, a nod to his cameos and a hint that the film is a mystery.
  5. 05The chime that closes the loop
    Contains a spoiler. Show itThe midnight chime at the start is the same one that ends the screenplay. The story returns to where it began instead of resolving.

Historical context

Resnais went to Germany looking for a baroque hotel. "We were very excited by the châteaux of Schleissheim and Nymphenburg, outside Munich," he recalled in Peter Cowie's account for Criterion, and he sent Robbe-Grillet photographs of rooms and gardens to choose from. Mark Polizzotti writes that the film was shot at three palaces, none of them in Marienbad, which is how the hotel's plan can change from scene to scene.

Sacha Vierny shot it in 2.35:1 widescreen, the first time Resnais used the format for a feature. Jacques Saulnier designed it, and Coco Chanel and Bernard Evein did the costumes. The organ score is by Francis Seyrig, Delphine Seyrig's brother, chosen after Olivier Messiaen turned the film down.

Connections

Formal resemblance

  • corridors and unverifiable memory ↔ with

    Severance, Dan Erickson

    Both make the long corridor walk the main way a building is felt, and both turn on memory that cannot be checked. Severance's designer has cited Playtime and 2001, not Marienbad, so this is resemblance only.

  • the luxury retreat as a trap ↔ with

    Infinity Pool, Brandon Cronenberg

    A resort for idle, well-dressed guests where events repeat and identity slips. A visual and structural likeness; no source links the films.

  • the past replayed ↔ with

    Devs, Alex Garland

    Both treat the past as something that can be replayed and argued over, inside severe, controlled architecture. Resemblance only.

Sources and further exploration

Read next

Severance, Dan Erickson

corridors and unverifiable memory