Love (2012)
Amour (2012)
DVD9 Custom | VIDEO_TS | PAL 16:9 | 02:01:54 | 5,96 Gb
Audio: French AC3 5.1 @ 384 Kbps | Subs: English (added), Russian
Genre: Drama
DVD9 Custom | VIDEO_TS | PAL 16:9 | 02:01:54 | 5,96 Gb
Audio: French AC3 5.1 @ 384 Kbps | Subs: English (added), Russian
Genre: Drama
Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple's bond of love is severely tested.
IMDB
While watching Michael Haneke’s Love, you need to find yourself trustful; you should be able to suffer and sacrifice in order to stay with the story until its bitter end. Until monotony leads you to drama, tragedy to the bizarre catharsis. Thankfully, there is no such thing as Ancient Greek-style theatrical pathos in Haneke’s latest, Palm d’Or winning film. By using minimal means, the Austrian director tells a story about an old married couple who are put through the greatest test of their lives; yet, it seems that every single viewer becomes their peculiar bedfellow.
Love (2012)
![Love (2012)]()
In the prologue of Love, Anna (Emmanuelle Riva) and Georges (Jean-Louis Trintignant) go to the opera. We do not accompany them while watching the spectacle; we do not hear voices coming out from the scene. We are rather thunderstruck, because Haneke makes us look at the audience itself. While observing the enormous screen for only few minutes, we eventually feel like we are standing in front of a gigantic mirror. There are no Peeping Tom’s around; what we all experience at that very moment is our own inner, naked world in front of our eyes. This scene doesn’t last for long; yet, the sensation lasts until the ending credits. We cannot rewind the unpleasantness like the protagonists of Funny Games (1997/2007) do. Nothing happens behind closed doors; we are not in the world of White Ribbon (2008) anymore. What is closed, however, is the room for the dramatic performances written out for the two lead actors. As soon as the great operatic show ends, the world falls into calmness. Anna and George go back home. Anna and George have breakfast. Anna and George exchange morning greetings over the table. Anna has a stroke.
Love (2012)
![Love (2012)]()
George tries to deal with the fact that he becomes nobody but a passive witness of his dying beloved woman. Anna is slowly losing contact with reality; she becomes childish, doesn’t react to questions and absently listens to stories that George spins over her bed. When we look at her from his perspective, it becomes obvious that she is condemned to humiliation. Day by day their world has been vanishing. Do their emotions break into pieces, because of lack of understanding, impatience and anger? Maybe not. Perhaps the truth lies on the opposite side. Maybe the real love (Haneke undeniably tells about one!) neither approves of pain nor shame? Maybe the real love does not believe in all things, does not have hope for all things, and does not endure all things? Is it true that, while being in love, we see each other in a blurry way? When the time comes that we can see clearly, do we have to tear apart our physical bond if we want to retain the spiritual one?
Love (2012)
![Love (2012)]()
Haneke sings his Blue Letter of love; we do not know it yet and we are not ready to understand it, even if we daydream about one. He sings about a love that is unconditional and uncompromising; love that does not accept the typical morality and (in)human rules. He sings it beautifully — if truth is the most dangerous music it is the one that makes us cry — and we shall be aware of Mr. Haneke’s singing.
Love (2012)
"The worst part of being old is rememberin’ when you was young,” Alvin Straight remarks sagely in David Lynch’s The Straight Story, but Austrian director Haneke’s Palme D’Or winner suggests an altogether less whimsical reality: that the hardest part of advancing years may, in fact, be watching helplessly as a loved one slowly succumbs to the ravages of old age.
Love (2012)
![Love (2012)]()
Veteran French actor Jean-Louis Trintignant gives a sensitive, unsentimental performance as Georges, the former music teacher who struggles manfully to cope as his beloved wife becomes a shadow of her former self. Early in the film, Georges tells Anne a story which, she says teasingly, might tarnish her image of him, even after all their years together. It’s a telling exchange, for Georges is about to witness the slow disintegration of everything that makes her Anne, as a series of strokes and subsequent onset of dementia reduces her to little more than a helpless child, no longer able to play, or even appreciate, the music which has been her life, while her erratic behaviour tests Georges’ love, tolerance and compassion to superhuman limits.
Love (2012)
![Love (2012)]()
It sounds like a depressing cinema experience, ‘the feel-bad movie of the year’, and many may find it unbearably sad. But Haneke’s rigorous insistence upon emotional honesty means that no tear shed is unearned, no feeling manipulated (there is, for example, no non-diegetic music), and that the film is, crucially, devoid of sentiment. Besides, the title is no accident: in the course of two hours, Haneke suggests that the ultimate test of a lifelong passion may come not in its first flourish, but in the compassion of its very last days, and that while love cannot conquer death, it can give life’s bleakest moments a run for their money. Viewed from this angle, Amour becomes not only one of the greatest films ever made about old age, but a love story for the ages.
Love (2012)
![Love (2012)]()
Michael Haneke’s Palme D’Or winner is uncomfortable, uncompromising, unflinching… and utterly unmissable. Old age may not be a reality you wish to confront, but you must see this film.
Love (2012)
Special Features: Removed
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