Word: amours
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...AMOUR Paul Morrissey-Andy Warhol movies are always something of a stalemate. It is impossible to determine exactly who receives more contempt and abuse, the people in the movies or the ones watching them. L'Amour ("presented" by Warhol, written and directed by Warhol and his protege Morrissey) features the wrecking crew from The Factory, Warhol's New York homestead, transported to Paris, where they scratch and stammer through a plot that might be a low-camp rewrite of La Ronde. Michael (Michael Sklar) and Max (Max Delys) are lovers. Michael, wanting to get married for appearances only...
EMERSON HALL 210, Alain Resnais' Hiroshima Mon Amour...
MAYBE IT'S SOMETHING to do with films that get themselves known as legends, but L'Amour Fou and Last Tango in Paris are stunningly parallel, not least because both explore the definitions of love and sheer aggression in sexuality...
...more marked in relation to technique: the best Bertolucci's improvised segments can come up with is Brando's famous "everything outside is bullshit" line while Rivette's effort enriches the film with a ring of additional depth. The film-within-the-film approach in L'Amour Fou lacks the gimmickry and inside-joking of the similar segments of Tango: in Rivette's film the function is real, and Sebastien is even helped in his direction by seeing rushes of the television film...
...case, L'Amour Fou can stand on its own without any special status as legend or milestone, although it deserves to be something of both. It is content to be a film carefully conceived at the most basic level of film making, consistent within itself...