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Hiroshima, mon amour
France
1959
91 Min
Black and White
1.33:1
French, Japanese, English
Currently 4.2/5 Stars.
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DIR Alain Resnais
PROD Anatole Dauman, Samy Halfon, Sacha Kamenka, Takeo Shirakawa
SCR Marguerite Duras
DP Sacha Vierny, Michio Takahashi
CAST Emmanuelle Riva, Eiji Okada, Stella Dassas, Pierre Barbaud, Bernard Fresson
ED Henri Colpi, Jasmine Chasney, Anne Sarraute
PROD DES Minoru Esaka, Mayo, Petri, Lucilla Mussini
MUSIC Georges Delerue, Giovanni Fusco
Cannes (In Competition)
Synopsis
A cornerstone film of the French New Wave, Alain Resnais¡¯s first feature is one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming fascination impelling them to exorcise their own scarred memories of love and suffering. Utilizing an innovative flashback structure based on a screenplay by Marguerite Duras, Resnais delicately weaves past and present, personal pain and public anguish, in this moody masterwork. ¡ªThe Criterion Collection
Director
Alain Resnais
While a seminal figure of the French New Wave, Alain Resnais was not, like so many of his contemporaries, an alumnus of the film journal Cahiers du Cinema. In fact, he existed well outside of the sphere of filmmakers like Jean-Luc Godard, Francois Truffaut, and Jacques Rivette, with a dedication to formalism, modernist concerns, and social and political issues not found in the work of his fellow innovators. Focusing repeatedly on themes of time and memory, Resnais drew from the well of serious literature to offer a singular philosophical and artistic vantage point, employing enigmatic narrative structures, lush cinematography, and lyrical editing patterns to create some of the most provocative and controversial work of the period. Born June 3, 1922, in Vannes, France, Resnais began making his first 8 mm films at the age of 14. In 1943 he enrolled at the newly formed Institut des Hautes Etudes Cinematographie, leaving the following year after declaring his studies too theoretical. He¡­ read more
While a seminal figure of the French New Wave, Alain Resnais was not, like so many of his contemporaries, an alumnus of the film journal Cahiers du Cinema. In fact, he existed well outside of the sphere of filmmakers like Jean-Luc Godard, Francois Truffaut, and Jacques Rivette, with a dedication to formalism, modernist concerns, and social and political issues not found in the work of his fellow innovators. Focusing repeatedly on themes of time and memory, Resnais drew from the well of serious literature to offer a singular philosophical and artistic vantage point, employing enigmatic narrative structures, lush cinematography, and lyrical editing patterns to create some of the most provocative and controversial work of the period. Born June 3, 1922, in Vannes, France, Resnais began making his first 8 mm films at the age of 14. In 1943 he enrolled at the newly formed Institut des Hautes Etudes Cinematographie, leaving the following year after declaring his studies too theoretical. He then spent the mid-¡®40s working primarily as an actor. Resnais returned to filmmaking in 1945, helming the surrealist 16 mm short comedy Schema d¡¯une Identification.
Between 1964 and 1967, Resnais directed a string of 16 mm silent films, known collectively as the ¡°visite¡± series, profiling a number of noted artists, among them Lucien Coutard, Felix Labisse, Hans Hartung, Cesar Domela, and Oscar Dominguez. He also helmed La Bague, a mime-drama starring Marcel Marceau, and Journee Naturelle, a study of artist Max Ernst. The 1948 piece Van Gogh proved so successful in its original 16 mm form that it was subsequently remade in 35 mm, winning a prize at the Venice Film Festival as well as an Academy Award. Further art films followed, including 1950¡¯s Gauguin, Guernica (a study of the famed Picasso masterwork co-directed by Robert Hessens), and Les Statues Meurent Aussi (a politically charged essay on native art among France¡¯s African colonies co-directed by the great Chris Marker). The early half of the 1950s was largely a fallow period for Resnais. His film work was limited to only two editing projects, Paul Paviot¡¯s 1952 effort Saint-Tropez, Devoirs de Vacances and Agnes Varda¡¯s 1955 work La Pointe Courte. Finally returning to the field of short films in 1955, he began collaborating with noted literary figures, a trend which continued throughout his career. The first such partnership was with writer Jean Cayrol, with whom Resnais teamed for his 1955 breakthrough Nuit et Brouillard, a brilliant, powerful account of life and death in the Nazi concentration camps. Again, however, a follow-up was slow in forthcoming, as he next edited Nicole Vedres¡¯ Aux Frontieres de l¡¯Homme. The 1956 Toute la Memoire du Monde, a short about the Biblioteque Nationale, was next, and in 1958 Resnais worked with writer Raymond Queneau on Le Chant du Styrene, a commissioned work about the manufacturing of polystyrene.
However, the true follow-up to Nuit et Brouillard was 1959¡¯s landmark feature Hiroshima Mon Amour. Written by novelist Marguerite Duras and photographed by Sacha Vierny, it brilliantly fused the past with the present and poetic imagery with stark documentary footage to arrive at an alchemical kind of filmmaking without obvious precedent. The picture launched Resnais to the front lines of the New Wave, alongside Godard and Truffaut, and was a major critical and commercial success the world over. In 1961, he returned with L¡¯Ann¨¦e Derniere a Marienbad, another unqualified masterpiece even more radically experimental than its predecessor. Penned by Alain Robbe-Grillet, it was less a film than a beautifully composed riddle, one which pushed the formal boundaries of filmmaking while proving to be a surprising commercial success as well. With 1963¡¯s Muriel ou le Temps d¡¯un Retour, Resnais left behind the stylistic flourishes of his previous work, focusing instead on a more subtle and emotional kind of storytelling. La Guerre est Finie followed in 1966 and marked his return to experimental narratives by means of a series of foreboding flash-forwards, a technique Resnais described as the ¡°future conditional¡± tense of filmmaking. When 1969¡¯s Je t¡¯aime, Je t¡¯aime proved a financial disaster, he disappeared from sight for half a decade, resurfacing only in 1974 with Stavisky. Resnais next made 1977¡¯s Providence, his first English-language feature. Upon returning to France, he helmed 1980¡¯s playful Mon Oncle d¡¯Amerique, the first unqualified hit of his career. La Vie Est un Roman followed in 1982, with Amour ¨¤ Mort on its heels in 1984. In 1986, Resnais filmed the ambitious M¨¦lo, an adaptation of a 1929 melodrama by a forgotten playwright named Henry Bernstein. The 1989 I Want to Go Home closed out the decade, and in 1993 he won a number of French Cesar awards for the two-part, five-hour Smoking/No Smoking, based on Alan Aykbourn¡¯s stage cycle Intimate Exchanges. The director¡¯s tribute to the legendary TV writer Dennis Potter, On Conna?t la Chanson, followed in 1997.
(From http://www.allmovie.com/cg/avg.dll?p=avg&sql=2:108005~T1)
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Write Something¡­
Cameron Buckley
7Oct11
One of the best films I have ever seen
ILoveCourtneyHate likes this
Felipe Tringoni Arra
20Sep11
? ¨¦poca, os modernos desvinculavam sua linguagem do teatro e da literatura. Resnais vai na dire??o oposta com Duras e, na linhagem de Welles, fricciona tempos narrativos, som e imagem, passado e presente. Assim como Kane ¨¦ o homem irrepresent¨¢vel, Hiroshima ¨¦ o fato irrepresent¨¢vel. Mas tendo a concordar com Rhomer: 'Resnais abriu portas que n?o levam a lugar nenhum'.
Faust
12Sep11
Memory, Time, Place
ALICE
31Aug11
Black and white poetry.
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Articles
Our roundup of essays and articles on this film.
Movie Posters of the Week: The Films of Alain Resnais
By Adrian Curry on March 12, 2011
A year or so ago, while writing about the brilliant poster for Alain Resnais¡¯s most recent film, Wild Grass, I was a little disparaging of read article
"Hiroshima mon amour": All These Years I've Been Looking For An Impossible Love
By Notebook on December 21, 2009
Today only: Alain Resnais¡¯ collaboration with famed novelist Marguerite Duras, Hiroshima, mon amour, is playing for free in the UK and Ireland read article
Stella Artois and The Auteurs Present 7 French Classics
By Notebook on December 10, 2009
From December 15 through 22, The Auteurs and Stella Artois will be presenting to viewers over 18 in the UK a daily series of French read article
At the cinematheque: "L¨¦on Morin, Priest" (Melville, 1961)
By Daniel Kasman on April 16, 2009
Above: Emmanuelle Riva and Jean-Paul Belmondo in Jean-Pierre Melville's L¨¦on Morin, Priest. Image courtesy Rialto Pictures. Father the French read article
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Reviews
Displaying 4 of 9
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The Pain of Love
By Nino Starr on June 13, 2011
Hiroshima Mon Amour by Alain Resnais is a breathtaking experience. The opening sequence did something few films achieve¡­. It gave me chills to the spine. I was devoured by the beauty of the music with¡­ read review
Untitled
By Vlad on August 4, 2009
Although it is often regarded as one of the first New Wave masterpieces, as a film about war and love, Hiroshima Mon Amour is more in the tradition set by Renoir¡¯s Grande Illusion. The great destruction¡­ read review
Untitled
By Christo pher Smith on May 15, 2009
Very interesting but also pretty pretentious French romance touches on some interesting ideas and has some memorable imagery of the aftermath of Hiroshima. Clever and innovative filmmaking techniques¡­ read review
Untitled
By futures tar on April 15, 2009
This movie should stop you in your tracks. Revelatory film making on a different level Hiroshima Mon Amour is the true Breathless of it¡¯s era. Starting out as a documentary only to become one of the¡­ read review
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DVD
Buy the DVD from The Criterion Collection.
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