Like Marcel Prousts novel the film is about the relations between rich aristocrats and poor folks during the WWI period as it is about our time, the 21st century, when the contrast between the wealth and life style of the rich and poor, again as many times in history, grows to the extreme. It’s paradox of truth about a concrete historical period that it is applicable to other historical epochs with the same relevancy and revealing power. It happens because in terms of human life and problems between various social strata the differences are always variants of the similar, and in the process of trying to understand what was different back then than from life today we unexpectedly find that we can understand our own particular circumstances better.

By regaining the time of the life of Prousts characters we restore our understanding of our lives today, which is hurt by our fixation on our problems without help of a wider socio-cultural perspective. The film shows us a complicated, passionate and sometimes twisted relations between the rich and poor people that penetrate their private lives and stimulate psychological mutations, existential experimentations and imbalances in psychological sensitivity, worldviews and sexual life.

The film concentrates on the psycho-sexual maneuvers of Prousts characters, on their self-contradictory feelings and behavior by adding socio-political analysis to Prousts analysis of the peculiarities of characters personalities. Ruizs sociological examination of Baron de Charlus homosexual desire (regressing into masochism) and Marquis de Saint Loups bisexual one (regressing into a shockingly crude jingoism) is elaborate and revealing.

But Ruiz main investment in Proust scholarship is his cinematographic analysis of Proustian writers (PW) aesthetic strategies in relation to his existential self-realization. Ruiz examines the relationship between PWs artistic and existential egos and comes to an amazing conclusion about the psychologically defensive nature of Proustean aestheticized spirituality. Ruiz uses intriguing and inspiring visual images to comment about PWs creative function in relation to his style of going through his life.

The manner of acting in TR is part of its scholarly achievements. Its not a situation when we learn about the characters from their reactions on circumstances. In TR the characters, as if, create the circumstances inside which they express and realize themselves. Their existential situations are, as if, a kind of a cloth on their psychology the characters always precede the situations always deeper and more creative than its implied by circumstantial acting.

Pascal Gregory (de Saint Loup), John Malkovich (de Charlus), Marcello Mazzarella (Marcel), Emmanuelle Beart (Gilberte) and the other actors bring us to the beginning of the 20th century and then take us back to our own times, following Proustian and Ruizian magic of regaining the particularistic universality of the human souls.

That’s how Marcel Proust in his childhood, when taken to pompous parties and often left (by the adults entertaining themselves with gossiping) on his own in luxurious mansions, indulged in a games of photographic tricks by imagining the guests at lavish events – he saw them as they were – not real people, but as a kind of hybrids between sculptures and mannequins dressed up in gowns and tuxedos and holding the gala glasses with Champaign

Posted Oct/4/’17 –   Marcel-the Writer And Marcel-the Boy During WWI – From Raul Ruiz’s “Time Regained” (1999) by Acting-Out Politics

Posted Oct/1/’17 –  Three Phases Of Human Relationship With Death – From “Time Regained” (1999) By Raul Ruiz (Film Based On Marcel Proust’s Novel) by Acting-Out Politics

Posted on 6/29/’12 –   Raul Ruiz’s “Time Regained” (1999) – Five Marcel Prousts (The Psychology of Existential Understanding) by Acting-Out Politics