Muriel, for all its flaws, is another absorbing exercise in style by Director Alain Resnais, master hand of the new French cinema. Hiroshima, Mon Amour, which wove past and present into a breathless idyl snatched from the ashes of war, was followed by the romantic, enigmatic Last Year at Marienbad. Now, in Muriel, Resnais plunges into the labyrinthine corridors of memory, suggesting much, saying little, rarely glancing behind to see whether his audience is keeping up with him—as not much of it will.
Filmed in blatant color (plenty of raw sienna) in the booming...
To continue reading:
or
Log-In
