Friday night, I attended two very different screenings at the Pacific Film Archive. The first, Alain Resnais’ Hiroshima mon amour, is a widely-acknowledged masterpiece. The other, Erich von Stroheim’s Queen Kelly, is the uncompleted final work of great but controversial filmmaker.
It was my first experience seeing either film.
Hiroshima mon amour
Why did it take me so long to see Alain Resnais’ first feature film? Simple. For more than 40 years, I’ve actively hated his second feature, Last Year at Marienbad. But finally, I decided to give his first feature a chance.
I’m glad I did.
Hiroshima mon amour starts with a couple in bed, presumably naked, locked in love’s embrace. But their talk is not about love–or even sex. They’re talking about the bomb and Hiroshima. He wants to make sure that she has seen everything of importance in that victimized city and understands what it means. (The film was made in 1959. The end of World War II was as close then as 9/11 is to us today.)
Soon we get to know these lovers. The woman is a French actress (Emmanuèle Riva), working on location in Hiroshima. He’s a Japanese architect, and Hiroshima is his home–it always has been. He was in the army, serving elsewhere when the bomb hit. But his family was there.
They’re very much in love, but it’s not that simple. Not only are they of different cultures (he, conveniently, speaks fluent French), but both of them are already married. She will be gone soon, and presumably they will never see each other again.
But sex can lead to other forms of intimacy, and soon they’re telling each other their secrets. Actually, she tells more than he does, about the German lover she had during the occupation and the punishment she endured for “betraying France.”
Hiroshima mon amour is an intimate, hopeless love story set against the ruins of a massively horrific war that scarred everyone involved (mentally or physically). My one complaint: I would have liked to know more about the man’s past. The flashbacks were all the woman’s.
The film has just been restored, and was screened off a DCP. It looked fantastic.
I give it an A-.
How could this be anything except a disaster? Joseph Kennedy, without any real movie experience, financed Queen Kelly as a vehicle for his mistress, Gloria Swanson. He hired Erich von Stroheim to write and direct it–despite Stroheim’s reputation as an overspending, uncommercial, and uncontrollable egomaniac. (He was all those things, as well as a brilliant artist.)
It’s no surprise that Queen Kelly, made at the very end of the silent era, was never completed. Swanson and Kelly fired Stroheim, shelved the film, unshelved it, pieced it together, shot additional scenes, and eventually released it in various forms.
It’s probably remembered best today for a couple of scenes that appeared in Sunset Boulevard.
The film today, at least in the 1983 restoration screened Friday night, is of little but historical interest. The plot–or what’s left of it–is silly. The characters are cardboard. Its attempts at being kinky are just kind of annoying. The whole last part of the film is a series of intertitles–with a few photographs–that tell the audience what would have happened had Stroheim been able to complete his vision.
But then, of all the brilliant and daring auteurs who fought the Hollywood studio heads to have their visions brought to the screen, only Erich von Stroheim makes me feel sorry for the studio heads.
The 35mm print had serious focus issues, presumably because the sources were several generations away from the original negative. Although this was a silent movie, it was shown at the PFA with a recorded musical soundtrack–probably from a very early release. By the time the film came to paying audiences, movie theaters had laid off their musicians and the American silent cinema was dead.
And if it hadn’t been dead, this film might have killed it. I give Queen Kelly a D.