From The Real Paper (January 17, 1973).
As I recall, this was my only contribution to this Boston alternative weekly, commissioned by the late Stuart Byron. He asked me to review the film because I was the only colleague of his who defended it when it was shown at the 1972 New York Film Festival, where everyone else, at least within his earshot, considered it an unmitigated disaster — which probably accounts in part for my defensive, almost apologetic tone, which I now regret. I suspect that part of my problem with conceptualizing the film came from my confusion of “science fiction” with the French category of “fantastique,” which incorporates Surrealism and its tolerance for fantasy as well as science fiction. So it’s gratifying to see Manohla Dargis declaring the film a masterpiece at the time of its early 2014 run at New York’s Film Forum, and doing an infinitely better job of saying why than I was able to muster 40-odd years earlier, writing from Paris. — J.R.
At first glance, Alain Resnais’ fifth feature seems as sharp a decline from La Guerre est finie, his previous film, as that one was from Muriel. The science-fiction situation that frames the main body of the narrative is so clumsily sketched in and illogically developed that it emerges as unintelligible; we can accept the time-travel experiment that goes haywire and sends its subject bouncing through the previous year of his life either as an awkward contrivance leading us into the past of Claude Ridder (Claude Rich) or not at all.… Read more »