It was to no great surprise that Amour, after winning best film at the César awards, Cannes, and Best Foreign Language film at Toronto and the Golden Globes, would also add to its impressive tally with taking Best Foreign Film at the Academy Awards. It arguably would have been even more shocking than Ben Affleck’s snub for Best Director or host Seth Macfarlane’s opening song with a ‘memorable’ tribute to Hollywood’s actresses.
Michael Haneke, Amour’s esteemed director and celebrated European auteur’s latest work focuses on the deterioration of a marriage and couple, after the elderly wife suffers a stroke. With an introduction that essentially ruins the end of the film, as what ultimately happens to Anne (Emmanuelle Riva) is revealed within minutes. We watch the aftermath of an operation, following a stroke, which leaves her paralysed on one side and needing the use of a wheelchair. And that readers, is effectively the rest of the movie, with a few appearances from the estranged daughter and former piano protégé of blooming fame.
Emmanuelle Riva’s performance is compelling, and at 85 years of age, it would have been fitting for the Oscars’ oldest ever nominee to win Best Actress. However, as Amour seemingly complies with Haneke’s pessimistic movies, perhaps it was never meant to be! She really does steal the movie, convincing the viewer she is gravely ill and yet, this juxtaposition with her reluctance both to lose her independence and not be a burden on Georges (Jean-Louis Trintignant) is powerful and eerily realistic.
One of the two most memorable and striking moments of the movie is when she tells Georges that she no longer wants to live. Credit where credit’s due; the casting is brilliant and Trintignant’s performance as Georges, whilst inevitably overlooked when paired with Riva’s, is strong and you really do empathise with the situation he is faced with, whilst feeling moved by the reality of his situation.
Considering its impressive repertoire of accolades, you’d expect a keen film enthusiast to jump at the opportunity to view Amour. However, unlike most of the films up for the Best Picture category, Amour is not a film you can immerse yourself in. Let me put my viewing into context; having seen three other Haneke films, I was well accustomed to his style and yet had the smallest of hopes the auteur may have wanted to have more happening in two-plus-hours than usual.
Alas, staying true to form, he did not. It’s hard work and you’d expect nothing less from a Haneke film, which ultimately leaves you feeling depressed, cold, and wishing Georges had smothered Anne an hour earlier, and then you, with that pillow too.
The problem is that Haneke is of the philosophy that cinema is meant to be challenging, thought-provoking and with a clear separation between viewer and film. With regards to the latter, that is no problem at all, as Amour is two hours of Emmanuelle Riva incrementally leaving Earth with a sensational, but uncomfortably realistic performance and very little besides.
An analogy I would offer is he is the anti-Tarantino. Where Tarantino loves action, Haneke thrives on a lack of it. Where Tarantino is escapism, Haneke is intellectual stimulation and will stop you at every opportunity, including even getting comfortable in your standard cinema seat. Nonetheless, for Trintignant and Riva’s performances alone, this film is worthy of a watch – just don’t expect to feel alive inside for a day.
My Rating: 3/5 stars
Benjamin ‘Denzel’ Lewis
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