Film Review: Hiroshima, mon amour (1959)
The term “experimental” or “avant-garde cinema” has often been associated with films that resonate more deeply with their creators than with general audiences. However, throughout cinema history, certain films have managed to bridge this gap, offering accessible narratives alongside their artistic ambitions. One notable example is Hiroshima, mon amour, the 1959 Franco-Japanese romantic drama directed by Alain Resnais. This film is celebrated as one of the first major works of the French New Wave movement, showcasing how avant-garde cinema can transcend its experimental roots to explore universal themes of love, memory, and loss.
The title Hiroshima, mon amour, translating to “Hiroshima, my love,” sets a poignant backdrop for a narrative that unfolds over a day or two in Hiroshima. This Japanese city is globally recognised as the site of the devastating atomic bombing by the United States in August 1945, an event that not only marked the end of World War II but also exposed the world to the horrific potential of humanity-erasing military technology. The aftermath of this tragedy catalysed a global movement advocating for peace, which serves as a significant theme in the fictional international film co-production that serves as the element of the plot. The film follows an unnamed French actress (played by Emmanuelle Riva) during her stay in Hiroshima where she is playing a part. There, she meets and engages in a passionate love affair with a Japanese architect (played by Eiji Okada). As their relationship develops, they discover shared experiences of loss; both are married and have endured profound grief during the war—he lost his family in the bombing while she mourns German soldier, her first lover who got killed at the end of occupation.
Before embarking on Hiroshima, mon amour, Resnais was primarily known for his documentaries, including Night and Fog, which confronted the dark legacy of the Holocaust. Initially hired to create a documentary about Hiroshima’s nuclear bombing, Resnais quickly realised that Japanese filmmakers had already captured this narrative more effectively than he could hope to achieve. Instead, he chose to use Hiroshima as a backdrop for a live-action film and enlisted Marguerite Duras, one of France’s most celebrated writers and a prominent figure in the Nouveau Roman movement, to pen the screenplay.
The film opens with a powerful narration by the Frenchwoman reflecting on the bombing and its aftermath, accompanied by harrowing documentary footage and images from Hiroshima museums, as well as dramatic reconstructions, “borrowed” from 1953 Japanese film Hirohsima. This introductory segment serves as exposition for viewers unfamiliar with World War II or its consequences. Notably, it juxtaposes these historical images with daring visuals of nude lovers embracing amidst ash or water—an audacious choice for 1950s cinema standards that firmly places Hiroshima, mon amour within the realm of arthouse filmmaking. The opening sequence hints at what Resnais’ documentary might have looked like while simultaneously establishing an emotional connection through intimate imagery.
As the narrative progresses, Resnais employs innovative storytelling techniques such as instant flashbacks to delve into his protagonists’ memories. This approach allows him to explore contrasts—between past and present, France and Japan, tradition and modernity. Ironically, while Nevers, the female protagonist’s birthplace, is depicted as an old and crumbling town she vows never to return to, Hiroshima emerges as a vibrant city reborn from its ashes. Despite its obliteration by nuclear weapons, Hiroshima has rapidly transformed into a modern metropolis benefiting from Japan's post-war economic boom, characterised by neon lights and an energetic nightlife where “nobody sleeps.” This juxtaposition between decay and renewal serves as a powerful commentary on resilience amid destruction.
Resnais directs with remarkable skill, maintaining a brisk tempo throughout the film’s 90-minute runtime while weaving complex emotional narratives into an accessible format. His ability to blend documentary elements with fictional storytelling creates a unique cinematic experience that challenges viewers to confront both collective trauma and individual memory through its innovative structure. However, it is ultimately the cast that elevates Hiroshima, mon amour to its iconic status. Emmanuelle Riva delivers an extraordinary performance as a woman caught between her tumultuous past and her present desires. Her portrayal encapsulates one of French cinema's most compelling performances, illustrating her character's internal conflict between a doomed love affair and her responsibilities towards family and career. Eiji Okada complements Riva's performance beautifully; their chemistry is palpable and enhances the emotional weight of their interactions.
While Hiroshima, mon amour is undoubtedly significant in cinematic history, it is not without its flaws. Some editing choices lead to moments that feel overly repetitive; certain scenes echo sentiments already expressed earlier in the film. The powerful opening sequence addressing Hiroshima's collective trauma does not seamlessly integrate with subsequent scenes that focus more on Riva’s individual struggles.
Moreover, the film’s musical score by Georges Delerue and Giovanni Fusco falls short of expectations. While Delerue would later become renowned for his compositions in other films, his work here lacks the depth required to enhance such a poignant narrative fully. The score often feels underwhelming against the backdrop of intense emotional exchanges between characters.
Hiroshima, mon amour premiered at Cannes Film Festival outside of official selection due to concerns about upsetting the U.S. government over controversies surrounding Hiroshima’s bombing. Nevertheless, it was instantly recognised as a classic; Duras even received an Oscar nomination for Best Screenplay. Over time, the film's stature has grown significantly within cinematic discourse, although it may not always be among those films that immediately come to mind when discussing French New Wave.
In 2001, Japanese director Nobuhiro Suwa—himself a native of Hiroshima—directed H Story, which serves as a half-documentary chronicling his attempts to produce a remake of Resnais’ film.
In conclusion, Hiroshima, mon amour stands as a remarkable achievement in cinema that successfully marries personal narrative with historical reflection. It challenges viewers to confront both collective trauma and individual memory through its innovative structure and profound performances.
RATING: 7/10 (+++)
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