![]() He made a number of films, all of them on the same principles as his novels, exploiting what he took to be the stock – ie sado-erotic – ingredients of the contemporary (male) imagination. Resnais shrank from taking all the huge liberties with time and sequence that Robbe-Grillet asked for, and the frustrated novelist, ever the purist, decided that in future he would do his own directing. He now turned to writing films, first and most famously the screenplay of L'Année Dernière à Marienbad (Last Year in Marienbad, 1961), which was directed by Alain Resnais. It became apparent more slowly that he was also the most humorous, as the novels that he wrote grew more sardonic and extreme, until they were lurid parodies of how the imagination works, rather than merely emphatic examples of it. By 1960 Robbe-Grillet was established as the most radical and commercial of the new novelists. These too dramatise the fevered, illegitimate workings of the writer's imagination, as it tries repeatedly, and fails, to call reality to some final order. ![]() The novels by which he became successful and widely read were those that came later in the 1950s – Le Voyeur (1955 The Voyeur, 1958), La Jalousie (1957 Jealousy, 1960), Dans le labyrinthe (1959 In the Labyrinth, 1967). ![]()
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