Hiroshima Mon Amour (1959, dir. Alain Renais) flows effortlessly; whether the movie is pairing time periods, locales, or symbols, Hiroshima makes it feel as though all parts of the story are happening concurrently. The paired elements, as well as a sense of fluidity and musicality, are pervasive throughout the entire film. Every part of the filmmaking process was centered around these themes, which is so rare in cinema. Hiroshima stands out as an example of a film that took full advantage of the medium in all respects.
The cinematography alone is incredible. Most notable are the extended tracking shots that transition into one another, specifically in the first segment. By matching the speed and angle of tracking shots between cuts, the action flows seamlessly. The tracking shots are less stylized later in the film, but they are still present, such as when She is wandering through the streets of Hiroshima, intent on leaving it behind.
That particular sequence brings me to the editing, which is superb. The viewer truly understands Her perception of the war in Hiroshima being the same as her experience of the war in Nevers. In the aforementioned sequence, shots of neon signs in Japan are interspersed with those of a French villa, bringing the two settings together just as She is undergoing her greatest amount of emotional distress.
Talking about any one element in particular almost cheapens the rest of film. It is almost like a truly great piece of music; when listening, you don’t think about how consistent the percussion is or how clear the vocals are, you’re able to experience the song as a single entity, as a feeling. The musicality of the film was intentional, and the film does it so well you’re able to understand this without even being told so.
The cinematography alone is incredible. Most notable are the extended tracking shots that transition into one another, specifically in the first segment. By matching the speed and angle of tracking shots between cuts, the action flows seamlessly. The tracking shots are less stylized later in the film, but they are still present, such as when She is wandering through the streets of Hiroshima, intent on leaving it behind.
That particular sequence brings me to the editing, which is superb. The viewer truly understands Her perception of the war in Hiroshima being the same as her experience of the war in Nevers. In the aforementioned sequence, shots of neon signs in Japan are interspersed with those of a French villa, bringing the two settings together just as She is undergoing her greatest amount of emotional distress.
Talking about any one element in particular almost cheapens the rest of film. It is almost like a truly great piece of music; when listening, you don’t think about how consistent the percussion is or how clear the vocals are, you’re able to experience the song as a single entity, as a feeling. The musicality of the film was intentional, and the film does it so well you’re able to understand this without even being told so.
No comments:
Post a Comment