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Hiroshima Mon Amour (1959)

Hiroshima mon amour (original title)
Not Rated | | Drama, Romance | 16 May 1960 (USA)
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A French actress filming an anti-war film in Hiroshima has an affair with a married Japanese architect as they share their differing perspectives on war.

Director:

Alain Resnais
Reviews
Nominated for 1 Oscar. Another 6 wins & 5 nominations. See more awards »

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Cast

Complete credited cast:
Emmanuelle Riva ... Elle (as Emmanuele Riva)
Eiji Okada ... Lui
Stella Dassas Stella Dassas ... Mother
Pierre Barbaud Pierre Barbaud ... Father
Bernard Fresson ... German Lover
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Storyline

A French woman and a Japanese man have an affair while she is in Japan making a film about peace and the impact of the atomic bomb on Hiroshima, The man, an architect, lost his family in the bombing. She recalls her lover during the war, a 23 year-old German soldier who later died. Despite the time they spend together, her attachment appears minimal and they go forward into the future. Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

...from the measureless depths of a woman's emotions... See more »

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Japan

Language:

French | Japanese | English

Release Date:

16 May 1960 (USA) See more »

Also Known As:

Hiroshima Mon Amour See more »

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Box Office

Opening Weekend USA:

$18,494, 17 October 2014, Limited Release

Gross USA:

$88,300, 2 January 2015
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Eiji Okada (playing Lui) did not know any French and was coached in pronouncing each syllable and memorized that order. See more »

Goofs

When Elle leaves the hotel to go the set, she is wearing a nurse's uniform with a headscarf and carrying a black handbag. When Lui meets her on the set, she is now wearing a skirt and blouse and still has the headscarf. When they leave the set, the headscarf is left behind. When they get to Lui's house, she now has a white jacket. See more »

Quotes

Elle: I meet you. I remember you. Who are you?
See more »

Connections

Referenced in Národ sobe aneb Ceské more v osmnácti prílivech (2003) See more »

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User Reviews

The Pull of Connection
19 October 2006 | by tedgSee all my reviews

I saw this thirty or so years ago. I don't remember it moving me profoundly, but then so many things at that age routinely inject you with massive change without you knowing. Seeing it now gives me great, great appreciation for what it is. And though I have been previously exposed, it washed over me all over again.

It has a laconic pace. Usually, one leverages this for relaxation into nature. Robert Redord. Here it relaxes into a tension of a different order, a quiet insistent striving for connection, like "In the Mood for Love." In this case though, the filmmaker has turned that yearning sideways so you have three dimensions of pull.

You have the desire for romance, here presented in a way that is more engaging than usual because of its folding into the other dimensions. You have the desire to comprehend war, war defined here as the sacrifice of innocents and war as a sort of incomprehensible desire running in parallel to all the other incomprehensible desires we see, every one.

And you have the desire of a film to reach into the inner world of ourselves. Film itself is a character here, with its own desires and doubts. The three of these fold in such a way that as we spend time with them we have to fill it by pouring ourselves into the film because it pulls story from us rather than serving it in timely patter.

Its an open world, made open by providing an amazing skeleton, on which we are surprised to find our own flesh and our own wondering about next actions.

He, an architect, she an actress, both highly cinematic beings. Both in Hiroshima with folded cranes over dying souls in beds. Both, this is us now, wondering, shall we do it? Shall she stay? What will it mean? Surely that the world will not be saved, not even a little, not even that they may try. Or will they? Should they?

This is such an open framework that not only do you pour yourself into it, but other filmmakers can and do. You owe it to yourself to see "H Story." after this. Or better, before. Hah!

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.


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