Hiroshima Mon Amour (Hiroshima, My Love) (1959)
Average Rating: 8.8/10
Reviews Counted: 18
Fresh: 18 | Rotten: 0
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Average Rating: N/A
Critic Reviews: 2
Fresh: 2 | Rotten: 0
Average Rating: 4.2/5
User Ratings: 9,437
Alain Resnais's multi-award-winning Hiroshima, Mon Amour is neither an easy film to watch nor to synopsize, but it remains one of the high-water marks of the French "new wave" movement. Resnais and scenarist Marguerite Duras weave a complex story concerning a French actress's (Emmanuelle Riva) experiences in occupied France, juxtaposed with the horrendous ordeal of a Japanese architect (Eiji Okada) coping psychologically with the bombing of Hiroshima. These stories are offered in quick flashback
May 16, 1959 Wide
Jun 24, 2003
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Although it presents, on occasion, a baffling repetition of words and ideas, much like vaguely recurring dreams, it, nevertheless, leaves the impression of a careful coalescence of art and craftsmanship.
Integrating past and present, poetic images and documentary footage, music and Marguerite Duras' dialogue, the film achieved a structural balance of such emotional and intellectual power that audiences were stunned.
I can't say I really enjoyed myself watching Hiroshima mon amour. Resnais' style is deliberately off-putting - the thought of entertaining an audience seems repugnant to him - but I respect the film for its audacious storytelling.
Though made in the late 50s, Hiroshima's imagery and music give it a feel at once modern and timeless, this is a beautiful piece of work.
It's one of the landmark French New Wave films that featured innovative flashback techniques.
Resnais' audacious work in narrative and temporal structure, with screenplay from Duras, the film has endured due to its lyrical quality in depicting a love affair between a French actress and a Japanese architect in post WWII; a must-see for film lovers
Landmark French New Wave film--a must for movie buffs
A somewhat stilted but still emotionally and intellectually engaging glimpse at profound and challenging questions of the role of memory in our sense of identity.
Resnais is one of the few true directors to evoke such a cerebral cinema.
One of the greatest and most auspicious feature-film debuts in the history of cinema.
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