Alain Resnais's provocative, astonishing first feature mixes documentary and fiction, past and present, and politics and psychology in a plea against intolerance and war. The narrated story intertwines with a confusing musical score, a camera that examines, backs off, observes, wanders. Sometimes Resnais uses disturbing images of war: land burning, men burning, children carrying dead children, starving children, and gruesome destruction, and other times he focuses on beautiful architecture, children running through open squares, museums, and bird's-eye shots of the city.
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Synopsis
Product Description
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Review
Sight and Sound, 04/01/2005, p.84, "[The film] draws the documentary form itself into its dialectical web." Uncut, 03/01/2005, p.135, "[B]eautiful..." Chicago Sun-Times, 09/15/1995, p.38, "...This is an avant-garde landmark..."
Title Note
HIROSHIMA MON AMOUR was director Alain Resnais's first feature-length film, following eight shorts.
Product Quotation/Excerpt
"I saw nothing at Hiroshima, nothing."--Him (Eiji Okada)
Release Note
DVD Features:
Product Notes
In Alain Resnais's artistic adaptation of Margueurite Duras's HIROSHIMA MON AMOUR, a French actress working in Japan meets a Japanese architect with whom she has an affair. Their relationship consists largely of conversations about the bombing at Hiroshima, the horrors that he and his family endured, and her perception of it back home in occupied France. With a camera that operates sometimes like a slide show, other times like a space vessel--switching easily in and out of flashbacks and gently blending footage of both Japan and France--the story unfolds more like a collection of memories than a chronological narrative. Perhaps the most dramatic scene is the unforgettable opener: An impeccably beautiful close-up in black and white depicts lovers writhing first in the ash of bomb fallout, which is washed away by rain, then, as their skin dries, they begin to perspire from making love. She--the nameless female lead (Emmanuele Riva)--remembers everything of the war. But He--the nameless male lead (Eiji Okada)--challenges her to determine if what she remembers is real or just a projection. As with most Marquerite Duras novels, it's hard to determine exactly what happened and what didn't. HIROSHIMA MON AMOUR is truly like a poem, using the emotional words of Duras to propel Resnais's ultrapowerful images.
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