REVIEWS
Reviews edited by Mark Adams
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Love Reviewed by Jonathan Romney
Old age remains the great taboo of cinema, with only a very few films daring to tackle the topic seri- ously — among them, some true classics such as Tokyo Story and Make Way For Tomorrow. Love (Amour) is a more than worthy addition. As one expects from Michael Haneke, it is a
sober, rigorous piece, and a magnificent collabora- tion with two veteran actors, Emmanuelle Riva and Jean-Louis Trintignant. It is true to say the pair give the performances of a lifetime, in that no other roles could possibly require them so directly to work with their own mortality and physical fragil- ity. They rise formidably to the challenge. Haneke’s absolute control makes the film
intensely involving and quietly moving, rather than harrowing. Even so, getting audiences to see it will depend very much on Haneke’s auteur pres- tige, and on the presence of Isabelle Huppert, here in very much a back-up capacity. But viewers will get an intensely rewarding masterpiece about a topic that ultimately concerns everyone. Haneke begins with a forceful and unsettling
prelude that tells us how the story will end — but that also wrongfoots us, since the tone of what fol- lows is much gentler. The main characters, as ever in Haneke’s films, are named George (Trintignant) and Anne (Riva). They are elderly musicians first seen attending a concert by pianist Alexandre Tharaud, who appears later apparently playing himself as Anne’s former pupil. Returning home, the couple find there has been
an attempted break-in at their flat — one of those n 14 Screen International at Cannes May 21, 2012
COMPETITION
Fr-Ger-Aust. 2012. 127mins Director/screenplay Michael Haneke Production companies Les Films du Losange, X Filme Creative Pool, Wega Film International sales Les Films du Losange,
a.valentin@
filmsdulosange.fr Producers Margaret Ménégoz, Stefan Arndt, Veit Heiduschka, Michael Katz Cinematography Darius Khondji Production design Jean-Vincent Puzos Editors Monika Willi, Nadine Muse Main cast Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, Alexandre Tharaud, William Shimell
small disturbances that carry powerful repercus- sions in Haneke’s world. The next morning, Anne goes into a trance over breakfast — a quietly trou- bling scene that Haneke brilliantly hangs on the seeming distraction of a tap left running. This is the start of her physical and mental decline, a pas- sage Haneke sketches elliptically and effectively in a series of episodes. First, it is mentioned casually that Anne has had an unsuccessful operation. Then she is seen in a wheelchair, and soon we realise she is paralysed on the right side of her body. Much of what happens is not dramatised directly, but Haneke pulls no punches in depicting Anne’s con- dition: increased immobility, dementia, inconti- nence and so on. Throughout, it is clear the couple’s long-standing love is unshakeable, but the final stakes of that devotion are revealed in a pow- erful outcome, brilliantly handled by Trintignant. More than in any of his other films, Haneke’s
theatrical background is visible in the measured, controlled staging — in that, rather than dramatise the couple’s experience, he shows it to us, for this is
a hyper-lucid demonstration of his theme. But this is also a magnificently directed actors’ film in which the two leads are challenged to confront their own mortality and follow its implications to the very limit. Riva in particular exposes herself fearlessly, recreating Anne’s increasing lack of physical con- trol; while Trintignant hints at the inner stresses that wrack George. The two actors create a marvel- lous sense of complicity and intimacy. There is no trace of overstatement or sentiment.
Huppert, as the couple’s daughter Eva, lends typi- cally strong support, and the film is shot with superbly understated spatial precision by Darius Khondji. This is a film of delicacy and immense force, and while it may well move you to tears, it is a hugely intelligent drama that tells it like it is about a subject most of us cannot bear to think about, especially on screen. It takes a director like Haneke to make us grateful we did.
SCREEN SCORE ★★★★
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