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Riva in Amour by Haneke + Leon Morin by Melville

May 22nd, 2012
  • 1EMhome
    Emmanuelle Riva (24 February 1927 – 27 January 2017)

  • Haneke’s ‘Love’ at the bitter end bowls over Cannes

    Haneke cast French screen icon Jean-Louis Trintignant, 81, and Emmanuelle Riva, 85, in the story of George and Anne, a couple of retired music teachers, whose rich and adoring relationship is cruelly tested when she suffers a stroke.

    Utterly believable in the role, Riva told a press conference after the screening that she threw herself heart and soul into the part, sleeping in her dressing room at the studio where it was shot to remain immersed in her character.

    Update: L’amour wins the top prize at Cannes.. (May 27 2012)

    There is a classic film featuring Emmanuelle Riva and Jean Paul Belmonod directed by Jean Pierre Melville in full view on youtube. (Happend to see this film a few weeks ago.. deeply moved by the performances of two actors the film stayed with me days after the viewing).

    “Léon Morin, Priest” in English — was Melville’s sixth feature and almost the exact midpoint between early successes like “Bob le Flambeur” (1956), about a gentleman thief organizing the heist of a lifetime, and “Army of Shadows” (1969), his late-career masterpiece about the Resistance. Given his interest in the war, it’s understandable that he was drawn to “Léon Morin” and its story of life during the occupation.

    The French resistence of another sort

    In the interview included on this disc, Melville says he was sitting on it for eight years but never started because he couldn’t find an actor right for the part of Morin, and that it was only after watching Breathless that he decided to try and get Belmondo, who was initially reluctant and had to be convinced by Melville.

    Criterion Leon Morin

    Riva & Judith Butler (previous post – they share a birthday.. link to Hiroshima Mon Amour is there.)

    Hiroshima Mon Amour or Futon and Cropped Hair

    April 3rd, 2006
  • What Riva saw of Hiroshima.

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    Interview: Emmanuelle Riva talking about Hiroshima Mon Amour.(Youtube)

    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.

  • Emmanuelle Riva hiroshimaand 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”
    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.

    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

    Marguerite Duras previous post