Hi-ro-shi-ma in montage is how Resnais begins his famous (or infamous) film about love's forgetfulness. With cinematography at its best, Resnais displays an extraordinary juxtaposition between the main woman-character's past romance with Hiroshima's past destruction. While the French-woman and the Japanese-man present the "current" love affair of the movie, Hiroshima Mon Amour actually takes place beyond the couple. Primarily dealing with the past, but looking forward to the future, the main characters, really the French-woman but including Hiroshima, deal with their histories even if they are forgotten. The terse, poetic dialogue unfurls the story's complexities with absolute grace, but still leaves much to the imagination. The cinematography is resplendent, but desolate; dreamy, but honest; innovative, but elementary; and above all: beautiful, but heartbreaking. Even to-day, there is not a film like this. Comparable only to itself. To not see this film: is to not see the world of celluloid from all of its seemingly-diversified angles. This film is so different, you may not like it the first time you see it. I didn't. But it warrants subsequent viewings. Absolutely. Then it allures you. Beckons more. If you're going to see a film - see a film. See Hiroshima Mon Amour.
Review of Hiroshima Mon Amour
