As of March 1, I posted additional material I realized was missing from the original post; sorry!
So, structurally, the movie opens with a break-in (by the police), then—after Georges and Anne return from the theater—there is another break-in, someone having used a screwdriver to force the lock on their flat door, and they discuss it. Georges comes home after Pierre's funeral and finds Anne on the floor beneath a window she had tried to close against the rain outside but she fell instead. Later, after Anne's condition has been worsening, Georges has a nightmare. All four incidents are related symbolically, for example, after the door of their flat has been damaged, Anne tells Georges of someone telling her about someone who broke into someone else's flat through the attic, cutting out all the valuable paintings from their frames and stealing them then we later see close-ups of all the paintings spread throughout Georges' and Anne's flat: the heavy impressionism and anonymous figures, some with no defining characteristics at all. These aren't valuable paintings in terms of monetary worth, but just like the photo albums Anne flips through at the table, they are valuable for the memories they contain of how they acquired the painting, the sentimental value, in other words, but those paintings have now been stolen, just like the ones mentioned earlier, because Anne can't remember anything about them, so that value has been stolen from Georges and Anne and so the paintings have been stolen from them.
One doesn't have to know that Georges (Jean-Louis Trintignant) and Anne (Emmanuella Riva) are music teachers to understand how strange the absence of music in the opening credits is; by the closing credits, when there is no music, the viewer understands why Oscar nominated director Michael Heneke conspicuously left out the music: the music is the flavor of love, and love without music, it appears, is no longer love. Winner of Best Foreign Language Film, and nominated for both Best Picture and Best Actress, Amour demonstrates what happens to an aging couple after the wife suffers from deteriorating medical conditions. (As always, this post contains spoilers, so if you prefer not to know what happens before seeing the film, please stop reading now; thank you!).
The film presents important, but potentially controversial issues so if you are going to watch the film with someone, you might want to make sure it's a good selection. I was expecting to be the youngest person in the audience, but there were lots of "younger" people there, not very many who could be classified as senior citizens, actually, and that might be due to the subject matter.In the opening scene, we see the ending: police break into the flat of Georges and Anne, finding doors taped shut with packaging tape, no sign of Georges or the nurses; police wear masks and anxiously try to get windows open, clearing the air before them by waving their hands and so we understand the stench filling the room: then we see why. A door is forced open and there is Anne, dead and decaying, no one having any idea she has been that way. With a navy blue dress on, a Crucifix lies upon her chest, a bouquet of flowers in her hand and flowers strewn around her on the bed. What's the point of starting with the ending? So we can pick up on the signs as the story reveals itself and we can see the moment the characters break. Arriving at the concert performance of a former pupil, I originally made the observation that at the theater, in the image above, there is a poster advertising the The Turn of the Screw by Henry James, a ghost story. So the question is, are there ghosts in Amour? Yes, from the burglar when they arrive home after to the show, to the slow "disappearance" of Anne as her illnesses progress, and the "appearance" of Georges the monster, the background poster offers an interesting angle from which to understand the events of the narrative. |
Almost always, a bird will symbolize either the Holy Spirit (because the Third Person of the Trinity has manifested Himself as a bird throughout Scripture) or a metaphor for the soul. We could construct a reading with the soul, especially the second time the pigeon gets into the house, because it's with the blanket Anne was using when she first came home from the hospital in a wheelchair that Georges captures the bird, tying Anne and the bird together (the way recurring items connect symbolic occurrences in Life Of Pi), so the second time the pigeon enters the flat, we could interpret the bird as Anne's soul since the blanket is tied to Anne all ready; that doesn't fit in with the first time Georges sees the bird, so that reading doesn't really work as a strategy because it fails to account for all the occurrences of this specific motif. Rather, understanding the pigeon as the Holy Spirit is strengthened as a interpretative strategy when we consider the window the bird flies in through, the Crucifix Georges lays upon Anne's dead body and the scaffolding outside the flat in Georges' dream.There is a total of three birds in the film: the first time a pigeon enters the flat and George gets it out; the second time a pigeon enters the flat and George captures it using the plaid blanket wrapped around Ann when she returns home from the hospital and the drawing of the bird on the shelf in their salon (and one of the only pictures in their salon that doesn't get a close-up in the montage of art in their home, but is seen almost every time anyone exits or enters the salon).
If we take the bird to be the Holy Spirit, and--as usual--the house (in this case, the apartment they live in) to be symbolic of the soul, then it demonstrates that, spiritually, Anne's illness has come upon Anne and Georges so both of them can grow in saintliness and holiness; this contributes an interesting understanding to the scaffolding we saw outside the apartment in Georges' dream when he steps out, demonstrating that God is "working" on the soul, (please remember the Scripture about Jesus knocking on the door and coming into a person's home--read: the soul--and that could be applied here). However, this interpretation also colors the entire film: has God "broken into" the soul of Georges and Anne? Was God the unknown hand who covered Georges mouth in his dream (please remember that the Holy Spirit appeard as the Hand writing on the wall in the Book of Daniel)? Georges views the pigeon who enters the apartment as a pest to be rid of, is that how he views God?
Morally, what does the film say about end of life issues and deteriorating health and the obligations of spouses and family members to a person who, even if they want to die, lives on in spite of “being a burden” and dominating the lives of those who are still healthy? Amour, like all art, will re-enforce that which a person all ready believes. If you think a person should die/has a right to die if their “quality” of life goes down, you will site incidents in the story to support your belief, because there are plenty of them to support that position; if you are like myself, and believe that each of those incidents are trials to expand Georges' love for Anne and Anne's discovery of her inviolable dignity as a human being, regardless of the condition of her physical and mental health, there are plenty of examples to support that as well. If you disagree with me in my moral position, you might easily say, “But you aren't in Georges' or Anne's position, and it would be different if you were suffering that yourself or responsible for someone who is enduring that condition,” but the truth is, I all ready am, two different people in my life who I take care of are in similar conditions and are extremely trying. On every level, it's incredibly difficult, every single minute, but without this opportunity God has provided for me to become a better person, I would remain the self-centered, childish, arrogant monster I had always been, rather like Georges.
Morally, what does the film say about end of life issues and deteriorating health and the obligations of spouses and family members to a person who, even if they want to die, lives on in spite of “being a burden” and dominating the lives of those who are still healthy? Amour, like all art, will re-enforce that which a person all ready believes. If you think a person should die/has a right to die if their “quality” of life goes down, you will site incidents in the story to support your belief, because there are plenty of them to support that position; if you are like myself, and believe that each of those incidents are trials to expand Georges' love for Anne and Anne's discovery of her inviolable dignity as a human being, regardless of the condition of her physical and mental health, there are plenty of examples to support that as well. If you disagree with me in my moral position, you might easily say, “But you aren't in Georges' or Anne's position, and it would be different if you were suffering that yourself or responsible for someone who is enduring that condition,” but the truth is, I all ready am, two different people in my life who I take care of are in similar conditions and are extremely trying. On every level, it's incredibly difficult, every single minute, but without this opportunity God has provided for me to become a better person, I would remain the self-centered, childish, arrogant monster I had always been, rather like Georges.
What, if any, evidence does Amour offer in support of my position? Two examples will suffice in addition to that which we have all ready discussed. First, after Georges tells Anne the story about having been to the movie and he saw a “schmaltzy romance,” Anne mentions that she won't let it ruin his image in old age and Georges asks, “What image?” to which Anne replies that Georges is a monster, but he is also generous. We see a plethora of examples of Georges being generous with Anne, and the landlords, but we also see Georges being a monster when he suffocates Anne, which leads us to the second example, the nurse he dismisses, because of her treatment of Anne. One could say, and the film invites people to say so, that because Anne herself mentions wanting to die, Georges performs a mercy killing, as the case is made in Million Dollar Baby, which compares Maggie (Hilary Swank) to a dog being put down. If one views humans as animals, that there is no difference between a person and a dog—and there are certainly plenty of those people—this is a perfectly acceptable understanding of the film. We know Georges can be a monster, and we know, by the film's own standards, that abuse of the elderly and helpless is unacceptable, as in the case of the nurse who is dismissed, so this substantiates—for me, who all ready holds this position—that “mercy killing,” and euthanasia is still murder, plain and simple. |
We can't really make any concluding comments about a film like this, because it stays with us, rather like the passages of favorite pieces of music, but it asks us a question which reveals our whole, individual philosophies in life: is silence the lack of sound, or is silence its own sound? We want music in our lives, we don't want the silence, but it's in the silence that we hear God. Georges makes fun of Pierre's secretary playing The Beatles song Yesterday at the funeral, yet that's exactly what Georges does, not only when he plays a CD and imagines it to be Anne playing (the way she was yesterday) but also at the end when he daydreams she is washing the dishes and they leave the flat together, because he longs for the past, not the climaxing end with the quivering notes signifying that a master is playing the song, but only a repeating of what has come before.
Eat Your Art Out,
The Fine Art Diner
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