While Michael Haneke’s film Amour is about love in the truest of forms, it’s definitely not an easy film to sit through in the way you would most films on the subject. In fact, Amour can be almost torturous to sit through at times, really testing the viewer’s patience and loyalty, much like it does the characters within it. Now when I say that, I don’t mean it in the sense that it’s a bad movie; no, Amour is hard to watch at times because of how real Haneke makes everything feel – and it’s a scary reality that we all hope in the back of our minds we never have to face.
Amour tells the tale of Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), a couple who have shared a lifetime of love together. The pair live a quiet, simple life, now retired and in their 80s; however, one morning Anne has a stroke while eating breakfast that will change both their lives forever. The stroke happens so suddenly that Georges doesn’t even know the severity of what’s happening. Anne simply looks off in a daze momentarily, like any of us do countless times a day, and when she returns to consciousness she’s completely unaware of what happened.
Haneke really delivers in how he chose to shoot the film, with a great deal of scenes taking place entirely from one angle, without movement, for minutes on end. He actually does it so often, that it’s sometimes jarring when he goes in for a close-up shot during conversations – which is hard to believe, since that’s how most movies handle the majority of their scenes to help convey emotion.
Of course, Haneke doesn’t need the close-up shots to let us know how the characters are feeling, and when he uses them they have that much more impact. It’s the long, extended shots from a wider angle that help us perceive the reality of the situation from afar, seeing how long it takes to do certain tasks, or how quiet and empty certain spaces can seem when one feels isolated in their own home.
Earlier, when I mentioned the film being torturous at times it’s because of how severe things get with Anne’s health after the stroke. While they have a daughter who visits when she can, she’s also living her own life, so it’s up to Georges to take care of his wife. While this is something one would expect from a married couple, that doesn’t make it any easier as we watch as Georges struggle to help his wife as she deteriorates before his eyes.
Haneke is no stranger to testing the limits of his audiences, as it’s something he’s actually known for with films such as 1997’s Funny Games. However, in Amour it’s less about testing the tolerance of those watching, and more about having the reality set in that nobody expects something like this to happen to them, and yet it can happen in the blink of an eye and there’s nothing we can do to stop it. Of course, that’s not the motive behind the film, but it’s something that also can’t be ignored as we watch Georges struggle with trying to decide the best course of action that will allow them to keep living their lives together.
There’s no denying that Hollywood mainly focuses on those that are young, coming of age and ready to take on the world in any way necessary to achieve their goals; though Haneke should be commended for stepping away from the norm and creating a film that focuses on an elderly couple that focuses on real problems. While films like The Bucket List are good for a laugh, and have their own message behind them, it’s very rare to have a story focus on two people in their 80s and have them both on screen in a single location for just over two hours with very little outside interference.
Haneke wrote the film for Trintignant so the two could work together, and while he still auditions a great deal of women for the part of Anne, he’d hoped that Riva would be the one to win the part because he felt the duo would have wonderful chemistry – and he was right. Trintignant and Riva both give powerhouse performances, and really make one feel as though they’re actually watching the lives of Georges and Anne play out right in front of them. While Trintignant wasn’t nominated for an Oscar like his co-star was, their isn’t one without the other, and both really bring this film to life.
Amour won the Oscar for Best Foreign Film, and was also nominated for Best Picture as well. While the filmmaking style may not be for everyone, the story and themes are universal, and will definitely resonate with audiences worldwide.
The DVD transfer of the film comes through nicely, with a beautiful picture and strong sound mixes. The dialogue comes through nice and clear, even though most reading this will be watching it with subtitles and reading along. The subtitles are a nice, solid white and crisp as well, which is always appreciated over the fuzzy giant yellow captions that some films choose to use for some bizarre reason.
There are two special features to be found on the DVD, both of which give insight into Haneke’s vision and directorial style.
Making of Amour – This feature comes in at just under 25 minutes in length, and sees the actors and Haneke talking about the film. There’s behind the scenes footage mixed in, all of which comes together nicely. It’s a strong special feature that many who like the film will enjoy watching.
Q&A with Director Michael Haneke – This featurette is exactly what you think it is, with Haneke answering various questions during a festival Q&A session. The interviewee comes off as a little pretentious at times; however, Haneke seems more understanding of up and coming filmmakers of today. Overall, this is another solid feature.
Amour is a beautiful, yet haunting tale of true love and the hardships that inevitably stem from it once we reach old age. Haneke has crafted a story that will touch the hearts of many, and Trintignant and Riva deliver two incredible performances that make the film that much stronger.
A Sony Pictures Classics Release Amour. Written and Directed by: Michael Haneke. Starring: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert. Running time: 127 minutes. Rating: PG. Released: August 20, 2013.
