From the hand of Marguerite Duras, "Hiroshima Love" has left a strong imprint of the French neo-novel school, becoming the first feature film of "Left Bank" director Alain Resnais The pioneering work of modern film. Winner of the International Jury Prize at the Cannes Film Festival. The film tells the story of a French actress who came to Hiroshima to shoot a peace movie, met a Japanese construction engineer, and both had a family. The 24-hour love process between the two appeared in the first time and space, and was mixed with a lot of other empty pictures. The themes of anti-war and love are no longer the focus, and style becomes the finishing touch.
At the beginning of the movie, two pairs of naked shoulders gradually appeared, hugging each other, the shoulders seemed to be covered with dust, raindrops, and sweat, and the man said: You didn't see anything in Hiroshima. Nothing was seen. In fact, through a calm and objective lens, we see the hospital, the hallway, the fragments of the atomic bomb, scrap iron, skin, burnt hair. An atmosphere of oppression and pain emerges, with dialogue and descriptive voiceovers alternating in meaningful counterpoints, the most unconventional in editing.
At the end, they meet again at the hotel, and the man asks the woman to stay, and she replies no.
Woman: Hiroshima, it's your name.
Man: My name, yes. Your name is Nevel, the French Neville!
The hero and heroine of the whole film do not have names. In another work of Renai, "Last Year in Mariambard", the three main characters are also represented by symbols such as A, X, and M. Their ages and identities are ambiguous. Highly abstracted person.
From "Night and Fog" to "All the Memory of the World", from "Guang" to "Go", the consistent theme of Renei's influence is memory. The "left bank faction" persistently expresses dreams, oblivion, and subconsciousness, and strives to bring people's psychology to the screen.
A woman is walking on a brightly lit street, and Japanese streets and French buildings cross each other. "We have nothing to do but cry about the dead light." In the joy of the woman with the Japanese man, she recalled that in France The German soldier whom he loved in the small town of Vail was later shot to death, and the woman was tortured by her compatriots as a traitor, shaved her head, and locked in a cellar. One is a war-torn city, her name is Nevel; the other is a war-torn nation, his name is Hiroshima. She falls into the agony of love again, and memories come to the fore, the man trying to make the woman forget the fact that she was in Hiroshima. The film is not constrained by a linear one-way timeline, but uses unskilled flashbacks to objectively record the present, post-explosion Hiroshima, Neville's romance and others.
She sees not only the trauma of Hiroshima, but also the analogy of the war many years ago, and the fruitless romance will happen again.
"Hiroshima Love" has constructed a new cinematic time and space in contrast to the conventional, physical time before, not only thanks to the ingenuity of the script, but also to the director's will. Duras has a special preference for the East, so "The Lover" and "Song of the Bream" were born. The background of the classic story "Love of Hiroshima" is also set in Japan. the compound reaction. People clearly see the alienation of people in the past war.
"We probably won't see each other again in our lifetime."
"Probably, yes. Unless there is another war that day."
We fell in love for 24 hours, but it took a lifetime to forget.
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