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Sorry, this movie sucks

Brilliant and touching

Admirable film.

This story has more twists and turns than a second-rate soap opera.

When Georges tells his wife Anne how pretty she looks out of the blue one night, and Anne giggles in return like a smitten schoolgirl, we're instantly struck by how odd the moment is for a Haneke film. For a filmmaker of such strict adherence to formalist austerity, and a heavy thematic gavel pushing his cinema of the cruel, it is unusual to see a character exhibit such carefree and willing tenderness. Haneke has now made some half a dozen films around couples named in the same variation of Anne or Anna or George or Georges, and in all of them his grasp slowly but surely closes in, and the audience is left shifting uncomfortably in their seats. And yet now he has made a film that none ever thought his cold fingers would touch, a touching, humanist story about the depths and despairs of life-long love. Anne is played by Emmanuelle Riva, who was a stunning portrait of beauty and vulnerability in Alain Resnais' post-war masterpiece Hiroshima Mon Amour. Here she is eighty five, and those looks have long faded, and yet Jean-Louis Trintignant still makes us believe that he sees a pretty girl by his side. Together they give a bodily performance that speaks great truths of the bond they have created over decades of marriage, leaning on each other when they must, shuffling in and out of the toilet, edging gingerly out of the bed each morning. In one instance, Georges steadies his wife and slowly, agonisingly, shifts her from the bed into her electric wheelchair. That she immediately pushes the stick and zooms away from him is like a slap to the face of her husband (not unlike the literal slap he deals her for not drinking her water), but the moment is made pathetic when she gets stuck and must be once again rescued. Trintignant gives a performance that matches his other half, capturing not only a body made weary but a mind shouldering a heavy burden. He trudges through the mostly empty apartment silently, is visited by nightmares of the decrepit home, and has to grit his teeth and accept the compliments from his friends while secretly wishing to hire a second nurse to lift his workload. When he narrates the details of a funeral that he attended but Anne missed, we realise that he is falling back into habit, recounting his day to someone who is barely listening, and the heaviness of his words hits even harder. Haneke enthusiasts (if there even is such a thing) might be surprised at his newfound humanism, but a glance confirms that his cinematic style has not changed. He is still working through a sterile realism, and although Anne forbids Georges from sending her to a cold, lonely hospital, the confines of their apartment begin to feel the same way. The cinematography goes all the way back to the morbid stillness of Haneke's debut, The Seventh Continent, using heavily diffused natural light through windows to recreate paintings not unlike the ones hanging on their walls. The film cuts periodically to the now darkened, empty interiors, but it is the couple trudging through it that expresses the gradual inertia of their marriage. Haneke's own experiences inspired the story, remembering his elderly aunt who had raised him and spent the final years of her life suffering alone with rheumatism, similarly confined in her apartment. Underlined in the film is his tiny cry of forgiveness, echoing the same sorrows that Georges is put through. To pull the plug is almost unthinkable to a man who has been married for decades. Yet to watch on as the memory of his wife slowly slides into ruin is almost a greater crime. Haneke is never coy; he begins with the end, and makes us sure of what is coming and what must be done. Yes, many will disagree with his actions, but is it really our place to be making moral judgements? What we must witness is the act of a man who sees his wife disappear before his very eyes, first momentarily, then gradually. They have composed and performed music side by side on the piano, and then listened to the fruits of their teaching many years later. They have ate and slept and lived, inseparable. And now they are together again, in memory.

The fact that Amour is an instant classic in the art-house world is as indisputable as the emotions presented by the protagonists of the film are bewildering. This picture is Haneke's minimalistic yet mightily expressive homage to love as we know it, showing the feeling's overpowering force and heartfelt, altruistic nature. While remaining a thoroughly unsentimental and provocative picture, Amour delivers a most-demanding portrayal of an elderly couple's last days together. Those cultivated, sophisticated characters need to evaluate their long-lasting marriage and come to terms with their own emotions, and, simultaneously, discover the true meaning of love in itself. Decisions need to be made, and some of them might be shocking to say the least. one of the best of the cinema the french title , and the drama in this movie is so romantic and Lovely , i have wrote before on this in my blog so i took some of the sayings and wrote them in french here http://sms1amour.blogspot.com message d'amour hope this will give another idea about quotes and sms there .

This film is still with me. I'd wanted to see it for a very long time.It grabbed me by the throat and just wouldn't let me go, right from the opening, which was shocking, through the concert to the lovely Parisian apartment where the rest of the film stays, static at times but within reason. Life literally freezes for the elderly couple.Amour - the title is about love, not about the word love, I doubt it was ever invoked throughout the film, but about the action of love as the wife becomes more and more incapacitated and hates what is happening to her while he adjusts to caring for her, all the brutal tasks of diaper changing and hair care, etc.I was left sobbing at the end.All through the film it was as if it was a documentary with hidden cameras, that's how believable it all was.Incredible filming.9/10 from me.

Two important things need to be stated in order to give viewers a clear idea about 'Amour'. Firstly, it is not a fun film which some youngsters on a date or a married couple enjoying their weekend can easily watch neither in a cinema nor at home. Secondly, it is not so slow as some reviewers have stated. Its pace is similar to events of our daily lives which take their own expected amount of time. It is quite natural that various descriptions of this film would be made depending on a viewer's perspective about life. Some viewers would not hesitate in calling 'Amour' a documentary about old age. As the film is about old people, it is be able to give a nice idea about their behavior especially when they deal with their respective partners. It is with sadness one can observe how a patient man becomes violent when his wife starts to change her behavior. The impact of old age has been depicted without any superfluous embellishment. The best thing about 'Amour' is that it enables viewers to discover a completely different facet of Austrian director Michael Haneke's directorial abilities. This film is easy to understand as it has been made sans intellectual pretensions with which one has always made it a point to associate Michael Haneke.