La douleur

On paper, this film is condemned and doomed to failure. A story about a writer (Marguerite Duras) and her internal dialogs about the waiting of her husband's return (member of the French resistance) could only be seen as something rather repellent. However, the fact that Emmanuel Finkiel delivers a heartbreaking film about this waiting is in itself astonishing and makes this film valuable, rare and beautiful for sure among the must see films' list of 2017. So how come did Emmanuel Finkiel end up with such a good movie ? Well there are several ingridients of course , but one of the secrets leans on the fantastic actors the film features and the way the characters were written: Melanie Thierry as Marguerite Duras of course, way above all the rest, so unsettling and seductive, torned apart and brave, but also, quite surprinsgly Benoit Magimel (recently so deep and good actor in recent years) with a deep twisted role of a cop you never end up to decipher completely. All this is accompanied by a beautiful and genuine reconstruction of the ocuppied Paris back in the early forties and the creative camera inventions the director resorted to during the film actually allow to maintain the supense you would not have expected from such a movie by revealing little by little the diferent feelings Marguerite Duras (the writer) came through (specially her twisted feeling towards her lover and the husband she must wait). Thanks to all this we can comprehend the unexpected turns of the historical events through the eyes of a "resistante" (Marguerite Duras), we live the waiting, the environment, the mood o the people in the ocuppied Paris, the suffering of the people, the watershed of history when the fear suddenly changed sides, the political commitment that some people decided to have and the one that others decided to avoid at all cost, all this is perfectly pictured, illustrated, narrated described and depicted with a true authenticity that never bore us despite the theme of the film. Melanie Thierry once again is just amazing (quite unfair not to give her the Cesar award for that utterringly good performance), we suffer with her, and never abandon her pain (the real title in French means pain). A great adaptation on screen and a very emotional moment . I recommend !

I've watched some rubbish/flawed films and have found something to help me work around whatever was wrong with them. This film had nothing. It was slow, and boring. The characters weren't interesting me and I didn't like the cinematography. The overall look of the film was drab and grey.

War causes pain in many ways. La douleur focuses on one that usually goes unnoticed. It is a character study of Marguerite, a woman waiting for her husband who has been arrested by the Germans and nobody knows what happened to him. Is he alive? Is he dead? The only thing she can do is torturously wait without having any clue. She desperately tries to get a French agent's help, but deep inside she knows it's a vain attempt.

The movie succeeds in creating the surreal feeling of "freezing time". Days are endlessly passing by and she isn't living, she is just a detached observer. This effect is done through the extremely slow narrative, Melanie Thierry's performance, the camera work (e.g. Many closeups, or the scene where she looks herself in the mirror, an outsider in her own life).

The book isn't an easy read, it feels like being trapped into the author's head: this can be a problem because entering another person's subjectivity is always tricky and a source of misunderstanding.

The movie suffers from the same problem and this is why I didn't really like it. The voice over is extremely pervasive (we're bordering audiobook territory here) while nothing, or almost nothing, happens on screen.

In short, watching this movie without having read the book would be a pointless experience imho.

"In Paris, I found myself surrounded by Germans; they were all over the place. They played music, and people would go and listen to them! All along rue de Rivoli, as far as you could see from place de la Concorde, there were enormous swastika banners five or six floors high. I just thought, This is impossible." Pearl Witherington Cornioley

While many on all sides of WWII suffered immeasurably, along with them was Marguerite (Melanie Thierry), not suffering the physical slings but emotionally tortured waiting for the return during liberation of her imprisoned resistance husband, Robert (Emmanuel Bourdieu). Memoir of War is a slow burn of waiting, expertly paralleling her longing for his return as we suffer a long but engrossing expectation with her.

Director/writer Emmanuel Finkiel, skillfully adapting the discursive Marguerite Duras novel, based on her experience, provides a linear story that simmers with desire for Robert's return while she spurns attention from a resistance colleague, Dionys (Benjamin Biolay), and a Nazi collaborator Pierre Rabier (Benoit Magimel). Finkiel's constant closeups of her cinematic face reveal the subtle torture she goes through as she spurns Dionys's advances and barters with Rabier for her husband's return.

After the Rabier sequences, the film almost exclusively centers on her turmoil of waiting until a denouement worthy of a potboiler depicting the converging conflicts of her loyalty in the face of Robert's imminent return. The film successfully immerses us in her waiting and her conflicts, as anyone who has, for instance, endured the slow death of a loved one to a disease. I suspect that torture is similar to waiting for a prisoner to return, probably a skeleton of himself looking already close to death if not almost there already.

Memoir of War, depicting the life of an acclaimed memorist, novelist, and author of the classic Hiroshima Mon Amour (1959), is not for the frequently ADD American audience (admittedly, it is too long for almost any audience); it belongs to the province of thoughtful cinephiles who love the quiet characterization of grand souls in conflict.

Superhero film this is not; classic European filmmaking with a substantial heroine it is.