Ironically, the Japanese man, whose family perished in the bomb while he was serving elsewhere in the army, seems to be the one who was less affected by the war. Using multiple flashbacks, ellipses and voiceover narration, Resnais presented a challenge to classical narrative cinema forms. I know now that I shall think of this story as of the horror of forgetting. From the evocative opening scene: French woman and the Japanese architect In July 1959, Eric Rohmer, Jean-Luc Godard, Pierre Kast, and other members of the editorial board of Cahiers du Cinema convened a roundtable on Hiroshima Mon Amour. I'd say the stream of consciousness angle works more in a visual sense, whereas the dialogues does seem to follow a conversational structure. Hiroshima mon amour is one of the most important films of the 20th century and certainly one of its cinematic milestones, but also one of its most emotionally devastating.
A French actress Emmanuelle Riva and a Japanese man who speaks fluent French are having an affair in Hiroshima. Written by Goofs When Elle leaves the hotel to go the set, she is wearing a nurse's uniform with a headscarf and carrying a black handbag. The man tells the woman that her name is Nevers her home town in France, where she met the soldier. A nameless French actress Emmanuelle Riva and Japanese architect Eiji Okada engage in a brief, passionate affair in post-war Hiroshima. I watched it twice in succession. In her consciousness, time and space are poetically fused, one place coexisting with and as the other.
Dust showers down, covering them. As a viewing experience for the average intellectual, such as myself, however, I felt that once was enough. If it was and remains impossible to speak of what happened in Hiroshima it is less difficult to imagine something of the impact of what happened through our own experiences of loss, grief and forgetting. We are at the very core of a reflection on the narrative form itself. Except intellectually, because the film is awash with symbolism and thought-provoking moments.
The fictional love story he uses to frame Hiroshima mon amour enabled Resnais to present a more universal inquiry into the nature of suffering and remembrance. The film shows personal love as a psychotherapeutic process and as a healing of human unconscious. The telling, the remembering, as essential as they are, feels like a betrayal. For while in one sense it is simply a love story, the personal memories that each lover relates to the other in the course of their brief relationship become an extended meditation on experience and memory, reminding us that unless such memories are preserved, the lessons of history often are lost. And the film betrays little in the way of empathy, either, the characters are infused with an undercurrent of intense selfishness as they struggle to connect. When Lui meets her on the set, she is now wearing a skirt and blouse and still has the headscarf. Perhaps the point of the film is to remind us that we can't have a sense of history without the accompanying emotions to make it meaningful.
The time jumping and abstractions and other critically lauded elements of this movie have been done better and more entertainingly by others. The story is so simple, and so simply told, that many viewers may wonder at the director's motives for making the film in the first place. This movie is one of those whose meaning grows on you. For all its weighty ideas, Hiroshima mon amour is also a deeply intimate film. The bodily love of the hero and the heroine is shown as, as if, having an alchemical power over life and death. You are Nevers and I am Hiroshima Resnais's highly stylized and personal film serves as a bridge to the past so some understanding of it can be reached, while because of its commercial success and its critical acclaim it also paved the way for modern filmmakers to make innovative non-linear films instead of the usual linear ones.
There is a melancholy inevitability to this. Its much-lauded opening scene stands as a testament to Hiroshima, the city, rebuilt after the cataclysm of the war, but unable to escape its past. The more time they spend together in the shadow of a horrific war, the more the woman is reminded of her first great love—a German soldier with whom she had a passionate affair during the Occupation. The film takes palce in Hiroshima circa 1959 and begins as we hear the voices of two quieted lovers. Painfully romantic and utterly devastating, with a fantastic score by Georges Delerue.
But in terms of strict entertainment. On a formal level, I found that ambiguity interesting. So as this single and so very human thread of life through the simple plot, two philandering persons, a Japanese architect and a French actress, innocents both, in a membrane of illusory love and real lust, tenderly know each other, and then part: both to return to their established lives, separate, rekindled, and yet amidst the palpable background of horror a few years after the atomic holocausts, they just stand, breathe, smile, touch, as the Japanese people also did and are beginning to do again. Resnais presents a cropped image, a close-up of two bodies, naked and locked in an embrace. A whole city will be raised from the earth and fall back in ashes…. But Emmanuelle Riva, in her first starring role, gives such an amazing performance with such delicate and compelling moments that to write her off as being merely symbolic is at best inappropriate. Their music is a presence unto itself.
Two lovers, naked and locked in embrace, dust replaced now by less ominous beads of sweat. The deep conversation between a Japanese architect and a French actress forms the basis of this celebrated French film, considered one of the vanguard productions of the French New Wave. It is great more for what is left unspoken, and how moral judgments fall apart at their selfless act on the altar of love. What do you guys think of it? About Us is a subreddit for in-depth discussions about film. I have yet to see Last Year at Marienbad but I have a hard time imagining that it tops this one, either way I just want to shower this film with all the love and appreciation that it deserves. As seen through recurring images, the A-Dome, over which the atomic bomb exploded some 2,000 feet in the air, stands as a symbol of their inhuman suffering. A French actress Elle is staying in Hiroshima for a few days shooting a movie about peace.
Mottled with third degree burns? Cinematography by Vierny and Takahashi is very impressive as is production design, music and costume design. This is the tragic beauty of this movie and an effective way to show the horrors of war. Hiroshima Mon Amour received an Academy Award R nomination for Best Screenplay. Son dos desconocidos, pero lo que podría ser la fugaz aventura de una noche se convierte en un intenso idilio que hace que ella rememore un amor imposible vivido en Nevers Francia unos años antes. Hiroshima mon amour is a film of bold contrasts. In minute detail she recalls the joy and then pain of that love. They have great chemistry together but both know they can never leave their families, nor have they any inclination to do so.
Casting is exceptional especially Emmanuelle Riva whose intensity burns the image. Americans are tapped and called to suspend judgment which softens the viewer's mind into a permeable membrane, open to simple kindness, forgiveness. She fled to Paris just before the bombing of Hiroshima. But from a distance, like making cloud-animals in the sky. That in a few hours she's set to return to Paris and he has failed to convince her to stay on longer upsets him greatly, as he knows it's likely that he will never see her again and she has greatly touched him.