In 1958, "Pretty Serki" directed by Chabrol appeared on the movie screen with a novel attitude. The "Express" reporter Lançoise Giroud first used the "new wave" to describe the film, Since then, "New Wave" films have become a wave that has swept the film industry together with the same batch of French directors.
1959 was a happy year for the "New Wave". At the Cannes Film Festival, Truffaut's "The Four Hundred Blows" won the Best Director Award, and Alain Resnais' "Hiroshima Love" won the Jury Award, and they were from the Cahiero and the Left Bank respectively.
There is a famous line in "Love of Hiroshima":
i met you
I remember you
This city is born to fall in love
you are a natural fit for my body
The director is Alain Resnais, and the screenwriter is Duras, who is also from the Left Bank. Compared with the non-politics of the Cahiers, the works of the Left Bank are more political. "Hiroshima Love" is about a French actress who went to Hiroshima, Japan to shoot a film promoting peace, during which she met a local construction engineer, regardless of their existing partner identities, and started a short-lived extramarital affair.
At that time, more than ten years had passed since the nuclear bombing of Hiroshima, and the invisible scars had always shrouded the people of Hiroshima. The particularity of Hiroshima reminded the actress of her love story with a German occupying army when France fell. Similar to the Hiroshima nuclear bombing, that love was like a "little boy" thrown into the heart of an actress. The feelings of different political stances were doomed to fail, and eventually became a ruin that she dared not set foot on.
As Alain Resnais's film debut, it has begun to show a very personal style of stream of consciousness expression, coupled with Duras's strong literary meaning in the past, focusing on exploring the entanglement of the inner world and the incompleteness of the subconscious. There are not many scenes in the movie, erotic scenes, conversations and memories intersect, new encounters trigger old wounds, shaved hair is locked in a cellar because of falling in love with aggressors, and an immoral love that no one understands emerges. .
Just after the actress' love was completely destroyed, Hiroshima was also destroyed by the atomic bomb. One even fell into the pain of expecting the war not to end because of love, and the other avoided nuclear explosion but chose to avoid war.
As the times changed, the war was attached to the relics and became a piece of exhibition in the museum. The land scoured by the torrent of history will eventually grow flowers, and the shattered ruins will be replaced by high-rise buildings. The two have their own happy families, but just like the erotic pleasures at the beginning of the film to parting ways at the end, the camera slowly advances towards the actor's face, the audience slowly approaches the character's heart, the closer you get to a person's heart, The more you will find it heavy, forgetting is harder than you think.
At the beginning of the movie, the two were lingering for thirteen minutes. The erotic scenes were interspersed with the scene of Hiroshima after the war. The gravel sprinkled on the two people symbolized the dust after the nuclear explosion of Hiroshima. Two broken souls are intertwined, and their pain is due to the cruelty of war. Some people say that the trip to Hiroshima is a psychological treatment for actresses, and it is not a kind of cure for the male protagonist.
By the end of the movie, I think the actress really fell in love with the architect, otherwise she wouldn't be struggling so much between going and staying. The man who helped her express the shackles in her heart also seemed to occupy a wasteland, and it was precisely because she faced the scars again that the actress chose to leave. When the back of love became heavy, separation was the best choice.
The tree trunk in the shot bisects the frame, with the architect on the right and the actress on the left with the locals who came to chat up, babbling at the actress in Japanese English, ignoring her absent-mindedness. Maybe this is the scene where the architect and the actress met, but all this is not important anymore, the architect has become another scar in the actress's heart since her first love. The heavy past shared with each other is like a tree trunk standing between the two at this time, which has become a permanent estrangement, and the ending is destined to part ways.
On the eve of parting, he called her Nevel and she called him Hiroshima.
The physical pain caused by war, the spiritual collapse left by love,
They all tried desperately to hide their scars,
Just like us off screen.
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