Emmanuelle Riva and Eiji Okada
(See the beautiful Futon without a sheet and the haircut by her cruel villagers of Nevers. We will not tolerate haircut in Nevers, never, ever.)
“Hiroshima Mon Amour” is 47 years old.
Here is a reaction from today’s young viewer.
“You kind of get the feeling that Terrence Malick lifted his entire style from the opening and closing 15 minutes of the film.”
I thought lots of imagery from Hiroshima Mon Amour drifted into Sofia Coppola’s “Lost in Translation”. She was smart enough not to mention the theft instead saying something about Wyler’s “Roman
Holiday”, Antonioni, and Wong Kar Wai.
(Two years prior to Hiroshima Mon Amour, Hollywood made “Sayonara.” That tradition of the Asian awfulness style continues today with “Memoirs of a Geisha”)
Saw Hiroshima Mon Amour last week courtesy from my local library. Was first introduced to the text of M. Duras from a French class at the college. Everything came together well for this film, the director, the script, the acting, a remarkable masterpiece.
Resnais is a cubist. I mean that he is the first modern filmmaker of the sound film.
— Eric Rohmer
You can describe Hiroshima as Faulkner plus Stravinsky.
— Jean-Luc Godard
We’ve already seen a lot of films that parallel the novel’s rules of construction. Hiroshima goes further. We are at the very core of a reflection on the narrative form itself.
— Pierre Kast
“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. Godard called it the first film without any cinematic references; Jacques Rivette said its rupturing of rhythm likened it to contemporary classical music; all members agreed on its status as a cinematic watershed. With his first feature, Alain Resnais created the thing they had all been looking for: a truly “modern” film. Fortunately, this illuminating discussion is included with Criterion’s new high-definition transfer DVD. ” (From Popmatters)
A look at voice-over narration: Manic Depression Mon Amour – Chris Cheng
Nice photos from the film and a photo of Emmanuelle Riva today.
“At 76 years of age, Riva demonstrates that she has lost none of her beauty or intelligence. She remembers events of over 40 years with precision and enthusiasm, and reflects on the film’s longevity and meaning with great insight. For example, she explains that her character’s double love, with the Japanese man in the present and the German soldier in the past, places her in an emotional temporal limbo.”
In Japan this film was released as ‘A Love Affair of 24 hours” without referencing Hiroshima.
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