Here are three of the 40-odd short pieces I wrote for Chris Fujiwara’s excellent, 800-page volume Defining Moments in Movies (London: Cassell, 2007), each of which describes an extraordinary scene from an Alain Resnais film involving camera movement. (There’s also a pretty amazing crane shot in Wild Grass, by the way.) — J.R.
1961 / Last Year at Marienbad - The camera rushes repeatedly through the doors of Delphine Seyrig’s bedroom and into her arms.
France/Italy. Director: Alain Resnais. Cast: Delphine Seyrig, Giorgio Albertazzi. Original title:L’année dernière à Marienbad.
Why It’s Key: A climax of erotic reverie in a film of erotic reveries.
Alain Resnais’ most radical departure from Alain Robbe-Grillet’s published screenplay for Last Year at Marienbad is his elimination of what Robbe-Grillet calls a “rather swift and brutal rape scene”. In this ravishing puzzle film about an unnamed man (Giorgio Albertazzi) in a swank, old-style hotel trying to persuade another guest (Delphine Seyrig), also unnamed, that they met and had sex there the previous year, illustrated throughout by subjective imaginings that might be either his or hers, Resnais includes only the beginning of such a scene when the man enters the woman’s bedroom and she moves back in fear.… Read more »
From Cinema Comparat/ive Cinema, Volume 1, No. 1, 2012 (a Spanish academic online journal, available at http://www.ocec.eu/cinemacomparative/pdf/ccc01.pdf) — J.R.
“Rivette in Context” had two separate incarnations, occurring a year and a half apart. The first consisted of 28 programs presented at London’s National Film Theatre in August 1977, to accompany the publication of Rivette: Texts and Interviews – a 101-page book I had edited for the British Film Institute while still working on the staffs of two of its magazines, Monthly Film Bulletin and Sight and Sound, in 1976.
This book included a polemical Introduction by me and translations — most of them by my London flat mate, Tom Milne — of two lengthy interviews with Rivette (one in 1968 that was centered on L’amour fou, the other in 1973 that was centered on the two separate versions of Out 1), three key critical texts by him (“Letter on Rossellini,” 1955; “The Hand” [on Lang’s Beyond a Reasonable Doubt], 1957, and “Montage” [with Jean Narboni and Sylvie Pierre], 1969), and a brief, undated proposal of his from the mid-1970s (“For the Shooting of Les Filles du Feu” — the latter was the working title for a projected series of four features, never completed, that was subsequently retitled Scènes de la Vie Parallèle).… Read more »