Hiroshima Mon Amour, by Marguerite Duras
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Hiroshima Mon Amour, by Marguerite Duras
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One of the most influential works in the history of cinema, Alain Renais's Hiroshima Mon Amour gathered international acclaim upon its release in 1959 and was awarded the International Critics' Prize at the Cannes Film festival and the New York Film Critics' Award. Ostensibly the story of a love affair between a Japanese architect and a French actress visiting Japan to make a film on peace, Hiroshima Mon Amour is a stunning exploration of the influence of war on both Japanese and French culture and the conflict between love and inhumanity.
Hiroshima Mon Amour, by Marguerite Duras- Amazon Sales Rank: #205640 in eBooks
- Published on: 2015-06-30
- Released on: 2015-06-30
- Format: Kindle eBook
About the Author Marguerite Donnadieu, better known as Marguerite Duras (4 April 1914 - 3 March 1996) was a French writer and film director. She was born at Gia-Dinh, near Saigon, French Indochina (now Vietnam), after her parents responded to a campaign by the French government encouraging people to work in the colony. Marguerite's father fell ill soon after their arrival, and returned to France, where he died. After his death, her mother, a teacher, remained in Indochina with her three children. The family lived in relative poverty after her mother made a bad investment in an isolated property and area of farmland in Cambodia. The difficult life that the family experienced during this period was highly influential on Marguerite's later work. An affair between the teenaged Marguerite and a Chinese man was to be treated several times (described in quite contrasting ways) in her subseqent memoirs and fiction. She also reported being beaten by both her mother and her older brother during this period. At 17, Marguerite went to France, her parents' native country, where she began studying for a degree in law. This she soon abandoned to concentrate on political sciences, and then law. After completing her studies, she became an active member of the PCF (the French Communist Party). In the late 1930s she worked for the French government office representing the colony of Indochina. During the war, from 1942 to 1944, she worked for the Vichy government in an office that allocated paper to publishers (in the process operating a de facto book censorship system), but she was also a member of the French Resistance. Her husband Robert Anthelme was deported to Bergen-Belsen for his involvement in the Resistance, and barely survived the experience (weighing on his release, according to Marguerite, just 84 lbs). In 1943 she changed her surname for Duras, the name of a village in the Lot-et-Garonne d partement, where her father's house was located. She is the author of a great many novels, plays, films, interviews and short narratives, including her best-selling, apparently autobiographical work L'Amant (1984), translated into English as The Lover. This text won the Goncourt prize in 1984. The story of her adolescence also appears in three other forms: The Sea Wall, Eden Cinema and The North China Lover. A film version of The Lover, produced by Claude Berri, was released to great success in 1992. Other major works include Moderato Cantabile, also made into a film of the same name, Le Ravissement de Lol V. Stein, and her film India Song. She was also the screenwriter of the 1959 French film Hiroshima mon amour, which was directed by Alain Resnais. Duras's early novels were fairly conventional in form (their 'romanticism' was criticised by fellow writer Raymond Queneau); however, with Moderato Cantabile she became more experimental, paring down her texts to give ever-increasing importance to what was not said. She was associated with the Nouveau roman French literary movement, although did not definitively belong to any group. Her films are also experimental in form, most eschewing synch sound, using voice over to allude to, rather than tell, a story over images whose relation to what is said may be more-or-less tangential. Marguerite's adult life was somewhat difficult, despite her success as a writer, and she was known for her periods of alcoholism. She died in Paris, aged 81 from throat cancer and is interred in the Cimeti re du Montparnasse. Her tomb is marked simply 'MD'.Richard Seaver was an editor, publisher, and translator who became legendary for championing unconventional writers in the face of censorship and cultural prudishness. He was the editor in chief of Grove Press in the 1960s, started his own imprint at Viking in 1971, and served as publisher of Holt, Rinehart & Winston until he founded Arcade Publishing in 1988, which he ran with his wife, Jeannette, until his death in 2009. He was the author of" The Tender Hour of Twilight: Paris in the '50s, New York in the '60s: A Memoir of Publishing's Golden Age".
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Most helpful customer reviews
47 of 51 people found the following review helpful. A couragious and honest exploration of love By Maginot As with most works of art that probe a subtle truth, "Hiroshima Mon Amour" will confuse a lot of people. On the surface, this film appears to be strange glimpse of failed romance and anti-social behavior. The characters, an unidentified French woman and Japanese man are having a brief and transitory love affair in Hiroshima, many years after World War II. Both of them are married (the man professes to love his wife) and neither is a stranger to anonymous love affairs.Although neither party knows the other's name, they share crucial aspects of their history and identity with each other. The man is a resident of Hiroshima who was away serving in the army when the city was bombed. During the war, the woman lived in an occupied French city called Nevers and fell in love with a German soldier. When the soldier was killed the woman was punished for being a collaborator and was subsequently banished to her parents' basement for several month where in her own words she became "mad with spite".The film opens by interweaving scenes of the man and woman making love, with scenes of Hiroshima bombing victims. This tells us that their story-particularly their love affair-is rooted in an act of unimaginable destruction. In the man's case, everything returns to the bombing of Hiroshima. When the woman tells him of the different monuments and documentary footage of the bombing she encountered, he replies that she has seen nothing. In the woman's case, her entire life was redefined the moment her German lover was killed by French partisans. The act of destruction was personally more traumatic and pivotal than the war itself. Worse yet was her tremendous sense of failure in surviving this event and being able to continue life without her lover. The man is inescapably a product of the bombing of Hiroshima just as the woman is a product of her experience in Nevers.The woman tells the man that until her affair with him, she has never loved anyone the way she loved the German soldier. She shares her sense of failure at having survived the death of the German solider with the man.The beginning of courtship and love often involves putting one's best foot forward, so to speak-of promoting oneself in order to appeal to the other person. But this film argues that the foundation of love is something more sacred and more sensible. It is often a person's deepest sense of failure, fear, or inadequacy that defines who that person really is. The woman attests to this by stating that her true sense of self began when she emerged from her eight months of confinement in her parents' basement. She tells the man that aside from him, no one including her husband understands that that experience made her who she is today. The Japanese man expresses great joy in being the only one in the world who knows. He comprehends the magnitude of her gift and its testament of her love for him.The love affair between the man and the woman is a doomed and paradoxical one. The woman gives herself to the man completely, but she can only do so because their relationship is free of any obligation to each other. They meet only for the purpose of loving each other under anonymous and temporary conditions. For them no other role is possible. At the end of the film, the loves part without revealing their names. The woman tells the man his name is "Hiroshima" and he replies, "Yes, and yours is Nevers. Nevers in France." In refusing to disclose their names, the lovers banish their public identities from the momentary world that they have created for themselves. A love affair is essentially the creation of a new world that is populated only by two people under specific conditions. Entirely new things become important. Streets, restaurants, and hotel rooms that would normally mean nothing suddenly take on an incalculable significance. In this case, Hiroshima is the place where their love affair takes place, which implies that the city is destroyed twice: first by the bombing and then by the end of the affair. Of course the film begins with the scenes of the lovers intertwined with scenes of the bombing. In the years to come, whenever the woman hears of Hiroshima she will immediately think of both. Like the love that defined who she was as a human being, this one too is rooted in unimaginable destruction.While the film is superb in its own right, one should really read the original screen play by Marguerite Duras since it sheds much light on the characters in the film. The screen play describes the Japanese man as having Western features and hardly looking like a typical Asian male. Duras purposely requested this so that viewers would not see the Japanese man as exotic or unusual. The Japanese is further described as being worldly in the sense that he is conversant in several languages and involved in politics. Duras states that he is the kind of man who would be at home in any country. Similarly the woman is described as being not very beautiful. In the film the man tells her that he was first interested in her because she looked bored. The attraction defies typical filmic clichés but makes sense is subtle ways.While this film may alienate many viewers, it will hopefully leave most with a deeper impression and with a series of questions. What does it really mean to love someone? What is the real definition of fidelity? What else does war destroy besides physical things such as people, materials, and the environment? What is trust? What defines a person's identity, success or failure?
38 of 44 people found the following review helpful. A remarkable depiction of remembering and forgetting By Kari Hiroshima, Mon Amour is the screenplay for the classic French film directed by Alain Resnais. This is one of the few screenplays I truly enjoy, as Hiroshima is a wonderful story about remembering and forgetting set in the context of post-nuclear war and love. True to the classic stream-of-consciousness style of Duras, this screenplay is a highly emotional account of a French woman's journey to Hiroshima to film an anti-war movie and the affair with a Japanese man that ensues. Throughout the course of the affair, the woman is struck with the memory of her German lover during WWII and the insanity that his death brought on. In many ways, this is Duras at her finest. She has an uncanny ability to take specific stories and bring them to a level of universality as far as human emotion and circumstance are concerned. This is a powerful and riveting tale that is not to be missed.
5 of 7 people found the following review helpful. A Poetic Symphony of Language! By A Customer This book is absolutely stunning. The screenplay for the Alain Resnais film of the same title, it also includes Duras' own specifications for the backgrounds of the characters and the actors who portray them. A wonderful way to grab ahold of the fleeting brilliance of the film for a longer period of reflection. There's no other way to read it but in its original French!
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