Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Blake Rivera If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Cheryl A clunky actioner with a handful of cool moments.

Horst in Translation (filmreviews@web.de) "Toute la mémoire du monde" or "All the Memory of the World" is a French black-and-white film by Alain Resnais from 60 years ago. It's interesting that two of the three people involved with this documentary became over 90 years old and the third also made it past 80. Admittedly, most of the books in this documentary are much older still. And that's basically what it is: a 20-minute documentary about a gigantic library in the French capital. I have to say it was never really interesting and even to people who often go to libraries I'd rather recommend to read a good book than to watch this one here. It's really only worth a watch for nostalgic reasons, maybe especially for French or even better Parisian citizens. The rest can really do without it. Not recommended.

Red-Barracuda Toute la mémoire du monde is a short documentary that Alain Resnais made before he became one of the giants of the New Wave. In some ways it does prefigure some of the ideas he would explore in his future feature films. For instance, while this may be a documentary about the Bibliotheque Nationale in Paris, it is also interested in exploring the mazes of the mind; in this respect it has much in common with Resnais most famous film Last Year at Marienbad. We look at this famous library and liken it to a physical representation of a mind. We see how knowledge is organised within it, with the purpose of storing it away for some future reference not yet known. The library is depicted as a growing entity; almost alive. As more books are published it burrows deeper into the ground to accommodate them and to ensure that the memories of our culture are never lost.Aside from this, it works as an interesting look at a famous institution. When you watch it now, it's difficult not to think that the smallest of computers could now store the entire contents of the library back then. Advances in technology have changed things irrevocably. But I like to think that this old library is still growing and evolving to accommodate physical media and always will do. Some things are worth preserving and to never be forgotten.

FilmCriticLalitRao France is one of the few nations in the world where books and literature are held in very high esteem. This is an extremely propitious sign which symbolizes the vitality of the true 'book culture'. This culture finds its reflection in French documentary film "Toute La Mémoire Du Monde" which has been directed by Alain Resnais-one of French cinema's greatest directors. Apart from books, Resnais also discusses all forms of printed information. Although this film was shot in 1956 at Bibliothèque Nationale De France (BNF), French National Library, one could still find intact many of the places shown in the film. This is because even after an interval of 57 years, BNF continues to grow at an amazing pace without sacrificing even an ounce of its resources. One should not wonder if one is told that the use of technology to do all activities related to books have increased significantly at BNF. Toute La Mémoire Du Monde has been shot like a feature film with a mellifluous background score, taut narration and highly professional camera work. As a film, it is an extremely important work of art for students, librarians, information seekers, cultural enthusiasts and anybody who is interested in the enigmatic world of books.Lastly, it must be mentioned that Resnais has used memory as knowledge for this film as it is through knowledge that human beings would be able to overcome all their differences.This is the reason why "Mémoire" is as important as "Connaissance".

Bloodwank As an aspiring librarian this film holds natural interest to me. And it's fascinating in its perusal of the work of librarians, the conversion of books, manuscripts, letters et al from disparate beings into objects of the one great whole. The one great whole is the core of the exercise though, the film represents library not just as mind, not just one persons process of drawing in, of classifying and cataloguing knowledge, but that of the whole world. A collective mind then, but not a natural occurrence, an edifice constructed purposefully to forestall the overwhelming force of the great mass of knowledge out there. Camera angles show library workers both as ants and masters, atmospheric controls are likened to the control board of Nemo. In the Nemo reference there is both the notion of obscure mastery, and the literal meaning, nobody. So the library seeks to control and make impersonal the corpus of knowledge so that it may be best used, while in its construction and its workers (each representative of operation of the mind) perhaps controls, makes impersonal the mind itself, making it an idealisation of mind, clear and functional. In some ways it isn't much of a human affair in that there's no passage into the thoughts, minds of librarians themselves, what we are seeing is very much an intellectualised, a lofty and philosophical take. One could take from this that its thoughts are undermined, that what we are seeing is not real experience but one mans speculation, but I think the camera gives it more of a universal appeal. Mostly slow, exploratory, pausing sometimes at what is interesting, when browsing the library bowels it takes on the quality of a human visitor quietly browsing. And the intent score from Maurice Jarre gives it a sense of dynamic, of real human impression. And of course for people not versed in how libraries operate this is a first rate primer in the sort of things they do, it has not even dated much despite factors such as the growth in electronic content (though I'm a little dubious as to whether volumes were ever physically inoculated, I suspect this may just have been a handy metaphor though I'm not certain). Overall its a terrific work I think, considerable merit in its own right and presaging Resnais' later work in its use of physical world as headstate, illustration of mind, its twists and turns and shabby corners. Very much worth a look, 8/10