Time Regained

Time Regained

1999 ""
Time Regained
Time Regained

Time Regained

6.7 | 2h49m | en | Drama

Marcel Proust (1871–1922) is on his deathbed. Looking at photographs brings memories of his childhood, his youth, his lovers, and the way the Great War put an end to a stratum of society. His memories are in no particular order, they move back and forth in time. Marcel at various ages interacts with Odette, with the beautiful Gilberte and her doomed husband, with the pleasure-seeking Baron de Charlus, with Marcel’s lover Albertine, and with others; present also in memory are Marcel’s beloved mother and grandmother. It seems as if to live is to remember and to capture memories is to create a work of great art. The memories parallel the final volume of Proust’s novel.

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6.7 | 2h49m | en | Drama | More Info
Released: February. 09,2018 | Released Producted By: France 2 Cinéma , Les Films du Lendemain Country: Budget: 0 Revenue: 0 Official Website:
Synopsis

Marcel Proust (1871–1922) is on his deathbed. Looking at photographs brings memories of his childhood, his youth, his lovers, and the way the Great War put an end to a stratum of society. His memories are in no particular order, they move back and forth in time. Marcel at various ages interacts with Odette, with the beautiful Gilberte and her doomed husband, with the pleasure-seeking Baron de Charlus, with Marcel’s lover Albertine, and with others; present also in memory are Marcel’s beloved mother and grandmother. It seems as if to live is to remember and to capture memories is to create a work of great art. The memories parallel the final volume of Proust’s novel.

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Cast

Catherine Deneuve , Emmanuelle Béart , Vincent Perez

Director

Philippe Archambeau

Producted By

France 2 Cinéma , Les Films du Lendemain

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Reviews

tomquick Yes, this film is true to the spirit of the sgraffito writings and thoughts of Proust, but it is impossible for the viewer to follow an account running thousands of pages without familiarity with all or part of it, in addition to a familiarity with the historical context, and overarching that, an ability to sort out the Proustian characters (Odette, Bloch, Charlus, eg) from the real ones (de Noailles, Montesquiou, de Pougy, Croisset, eg) - in essence moving seamlessly with the film in time through Proust's childhood, deathbed dreams, and soirees, sometimes in overlapping narratives, without conscious effort on the viewer's part. Yes.
neferet A wonderful and faithful sight of the XIX century French high society,through the eyes of Marcel Proust: splendid and crual era, where dream,childhood,death,loneliness and vanity fair are tightly melt. If you know Proust, you read once again this opus with a richest look. If you don't know Proust, go to the nearest bookshop, and you will realize what a wizard he was!
cjs-10 I've only read parts of _À la recherche du temps perdu_, but this film struck me as one of those that doesn't follow the story of a book, but captures the sense and feel perfectly. The non-linear motion of time and the placement of characters of one age in another slowly builds up a set of impressions, a mosaic, as it were, that resolves to a sense of M's life during the period this last book covers. The technique goes far beyond mere flashbacks, perhaps making this film a bit avant-garde (not to mention long!) for some. Certainly I can't imagine it having much commerical success, or even playing outside of an art house. But I found it interesting enough that I'll definitely see it again.
jwarthen-3 I got to see this film in London, and went not expecting much. Amazing, then-- this film could appear in a "Masterpiece Theater" format, afloat as it is in voluptuous costumes, spectacular food, beautiful interiors, gossiping grand dames-- the stuff that makes one keep going back to period costume dramas, hoping to find one this complex and piquant. Its swarming cast of characters have an almost symphonic density, and in the final soiree, in which the violin sonata that defines "Swann's Way", a viewer welcomes each face as it approaches the narrator/camera. A beautiful earlier scene, in which the Proust-character encounters a deranged Baron Charlus (John Malkovich) in the driveway of a spa moves its extended tracking shot in and out of shadows and real-light, and as Ruiz goes on risking lighting-difficulties and getting away with it, you realize this is one lucky movie.