Word: amours
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Dates: during 1960-1969
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Hiroshima, Mon Amour (French). In a film artfully woven of languorous daydreams and short, jagged episodes of violence and death, a Japanese architect and a French actress find that love can grow in the atomic rubble of Hiroshima...
Hiroshima, Mon Amour. From the ashes of Hiroshima and the revivifying love of a French actress and a Japanese architect, Director Alain Resnais has woven the acknowledged masterpiece of the New Wave in French cinema...
...into a daring and promising renovation of the art of film. Working on tiny budgets without benefit of studio facilities or well-known actors, the men of the Nouvelle Vague (TIME, Nov. 16) in a single year produced at least three pictures-Black Orpheus, The 400 Blows, Hiroshima, Mon Amour-of rare originality and power. And to the amazement of the moneymen, the European public took a shine to the new ideas. Six of the films released last year by the New Wave were solid hits on the Continent-and three of the six have already piled up good grosses...
Hiroshima, Mon Amour. From the ashes of Hiroshima and the revivifying love of a French actress and a Japanese architect, Director Alain Resnais has woven the acknowledged masterpiece of the New Wave in French cinema-a film that is part elegy, part spring song...
...film, Director Resnais states his theme with great power; in the second he develops it in an allegro of relationship between the hero (Eiji Okada), a Japanese architect, and the heroine (Emmanuelle Riva), a French actress. Later, in a passage of gloomy elegy that evokes the heroine's "amour impossible" with a German soldier during World War II, the film begins to lose a little of its immediacy and drive. And in the long, obscure, lugubriously beautiful finale the theme is lost in sententious variations...