“Amour” is a simple, touching story about love in the last years of life, when old age and illness have made people weary. Many viewers believe that the film is only suitable for older audiences, but in my opinion, this is a movie for all who want to understand what true love is. The film does not show love as usual through dates, romantic poetic scenes, passionate kisses only with everyday stories in an ordinary apartment.
85, Emmanuelle Riva has been the oldest person to be nominated for an Oscar in the entire history of the award, but the happy ending goes to Anna Hathaway as Fantine in Les Miserables, a pity when she did not receive that noble golden statue at a near-earth age as a tribute to her contributions to cinema. But that aside, Emmanuelle Riva has won a bigger award in the hearts of film lovers, Emmanuelle Riva’s Anne in Michael Haneke’s Amour will be a cinematic classic in the genre of romantic tragedy.
The film tells the story of a couple retired piano teachers who live in a comfortable apartment in Paris. There their lives passed smoothly and happily, but to a near-earth age, Anne (Emmanuelle Riva) – the wife of a meal had the first sign of a stroke and after that. She, with the terrible disease of old age, gradually lost her strength and lucidity. She gradually had to move by wheelchair, then could not move, could only lie in one place. In that situation, the husband Georges (Jean-Louis Trintignant) and Anne showed a beautiful love, a love that is not the passion of youth, but the simplicity and closeness of old age, of many years living together, sharing together. The movie does not build that love with slices of their youth, but pure present, reality, an apartment, two old people, a few maids, sometimes with daughters settling abroad.
Using a lot of static, fixed camera, in that fixed frame, they, two old people slowly and enjoy life, they eat together, do everything together. A rare scene outside the theater apartment where their student performed a classical piece composed for the Piano, too, still in the rustic language of the academic sounds, a magical contrast of the simplicity and nobility of their souls. Calling Anne’s illness a test of love for her husband Georges, at their age, it would seem reluctant and unconvincing when they were together on a long journey of life. every frame when Anne was healthy saw a shadow of a deep affection, an undisputed love, that evil catastrophe only further emphasized the spiritual love that transcended. all of two fate, have tied life together with all the dark and bright colors during the decades together.
The script is rich in poetic nature, full of literature, light, profound, strangely simple, love is a timeless and simple story, it is so much that sometimes we feel if we are seen or heard. It is not strange to tell about a love story, it is not surprising, and sometimes we expect in that story to be in an ironic, strange, interesting and unexpected situation. Haneke didn’t bring that up in his script Amour, a stationary camera, with very little movement, a confined setting in an apartment with a living room full of books, a beautiful piano, but painting, a bedroom, a kitchen, a hallway between rooms, the scene was just that, but in that still frame, the slow movement of two aging bodies, the care of one person Husband for wife, due to age, is calm and slow, but has very strong emotional effects. Also, without the affectionate cuddling scenes like younger couples would do, they don’t need tata all to show their love. That love is the husband’s understanding, understanding of the guilt, shame, and humiliation that a wife feels to do awkward acts like locking the door of her mother’s room to prevent her daughter from visiting for him. know she would feel pain when someone saw herself so helpless. The little details of a great sentiment. Small acts of extreme kindness and love. Vietnamese people have a saying that “a child takes care of his father is not as good as his grandmother”, changing the position of grandfather and grandmother, Amour has completely shown that, only the understanding of each other deeply can make them. , Georges and Anne are stunning in such a sad tragedy. Only how great love could it be that Georges acted the way he did for Anne, surprisingly but with great sympathy. An ending does not bring a feeling of sadness, but a feeling.
Maybe Trintignant and Riva are the two main actors, but Amour’s protagonist is death. Haneke placed death in front of the camera and observed it leisurely, exposing every cruel step of this necrotic process. I know what is to come, but every time death takes one more step, I still cannot help shivering at such immense helplessness. A significant part of the story takes place in the reading room, where two walls are lined with books, tapes, and a formal piano placed by the window. The room is a symbol of a life of knowledge accumulation of the couple, also their last stronghold, two noble souls in a bewildered war that succumbs to sickness. Haneke is still evil in that, when the audience is still dazed by the slowness of the story, he abruptly cuts the scene to push the pain to a new level, leaving us no time to prepare. Neither Anne’s stroke was seen in the film. The screen went dark for a second and when it lit up, she was sitting or lying there, paralyzed halfway or all over. And, the culmination of the pain, when it comes, pierces the hearts of viewers just when we are least vigilant, completely paralyzing us. Even the experienced audience, and predicting the situation, may be hard to bear when it happens.
But, unlike Funny Games and Hidden, with Amour, Haneke showed a rare sympathy for the director of these extreme emotions. Maybe it was because Amour came from his own pain when he had to watch his aunt raise him into a sick man at the age of 92, and finally ended his life with a sleeping pill. Trintignant had for him to reproduce that tragic experience in the most genuine way. The way Georges refused to put Anne in hospital, refused everyone’s help, and refused to let Eva see her mother made us startling because it was both stubborn, crazy, and heroic. And equally brave is Riva, naked at the age of 85, to fully expose the helplessness, irresistible that age and disease are always waiting to descend on us, thereby helping Haneke to seek answers cruel but helpless to avoid the nature of death.
The last guest to visit the old couple is a dove, a strange symbol of life. The sight of Georges dragging the bird in the dark and closed hall is a metaphor of his desperate effort to chase Anne’s life in a secluded house, where death is slowly tame. Both processes only accentuate his old age, weakness, and helplessness. And, finally, like in another Old Love, although “how can we let go of each other”, he let go of his hand. In both times and not necessarily without a hint of lightness or serenity.
Because of such a concise and dynamic, still-filled script, the actors’ acting is the decisive factor for the film’s success. Emmanuelle Riva, and Jean-Louis Trintignant seem to be the perfect choices. Their real age in real life is also similar to the age of the role, perhaps for that reason, they radiate all the fatigue of old age, of approaching death, but they are not afraid, not hiding and complaining, they lived a meaningful and beautiful life, so were the lives of the two main actors. Emmanuelle Riva is an once very successful name of French cinema, who had great films in the film Hiroshima, Mon Amour (1959) directed by Alain Resnais. But perhaps few people remember her until this dramatic role of Amour. Emmanuelle acted like he was expressing himself, from being a first wife with arms and legs over the years with Georges, to portraying a traumatic, paralyzed person, only trembling, eyes, corners of lips, forgetfulness, oblivion, anger, sadness, pain. Watching the new film regretted her not being honored at the Academy Awards. So is Jean-Louis Trintignant, perfect and precious. These wonderful models of hard work work even though they are very old.
Michael Haneke is not an unfamiliar director to film fans, as a German, his films always contain humanitarian value, a deep humanist spirit in electric works. Previous photos, such as The White Ribbon (2009) are an example, in that work, Haneke brought the roots of crime from the young soul where fascism began to take shape. A melodramatic song that deeply condemns pre-fascist German society. Haneke always knows how to bring seemingly simple images of life to convey a story full of emotion and emotion. Going from a topic of crime from children, to the extremely simple love of an old couple in a small apartment. Haneke has brought mixed emotions, but in general there is a human value full of goodness and beauty of life. In that life, the good and the bad are hidden, but people always find in the simplest, the beauty of life.